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In 2006 I founded External Reference Architects , architectural design studio located in Barcelona (Spain) engaged with blurring thresholds between arts and architecture where, for more than a decade, I have been developing international exhibition and communicational projects as the Spanish Pavilion at the 2012 Yeosu (Korea) World Exhibition.

portfolio

PORTFOLIO

Books

·Shaoqiang, W. (2015). “On show by design”. 1st ed. China: Sandu Publishing, pp. 8-9, pp. 126-131, ISBN 978-988-13582-8-8.

·Ruili Huo. (2014) “Event” 1st ed. Beijing, China: Designerbooks pp. 130-139, pp. 188-193, pp. 194-199, pp. 200-205, pp. 416-423, ISBN 978-988-12232-4-1.

·Gengli Lin. (2014). “Show time. The Art of Exhibition 2”. 1st ed. Hong Kong: SendPoints Publishing Co pp. 192-195, pp. 286- 289, ISBN 978-988-13834-2-6.

·Ciorra, P. and Padoa Schioppa. C. (2013). ‘‘Erasmus Effect’’. 1st ed. Recanati (MC), Italy: Quodlibet p. 186, ISBN 978-88-7462-602-1.

·Toribio, N. and Zappulla, C. (2013). “External Reference Architects”. Lee H., ed., “Architect’s Notebook” 1st ed. Seoul: Damdi Publishing pp. 242-259, ISBN 9788968010224.

·Barbarelli, D., Prestinenza Puglisi, L. and Trovato, F. (2012). ‘‘30 [less than] 40’’ 1st ed. Siracusa: LetteraVentidue, pp. 84-89, ISBN 978-88-6242-049-5.

·Jiménez Catalán, J., Ortega Gómez, D. and Ubach, T. (2010). ‘‘Dibujo a mano alzada para diseñadores de interiores’’. 1st ed. Barcelona: Parramón, p. 177, ISBN 9788434235267.

Magazines

·International New Landscape 5 (2014). “Yota Devices Pavillon-MWC14” pp. 42-49, ISBN 978-75390-5216-8.

·Heungchae, J. (2014). ‘’Exhibition Booth, Yota Devices Pavilion 2014’’ |bob| International Magazine of Space Design, (123), pp. 16-17, ISSN 1739-2845.z

· IW magazine 99 (2014). ‘‘Joan

De Austria, Barcelona, Spain’’ pp. 092-095, ISSN PUBLICATIONS LIST

1561-3909.

Diseño, (252) pp.28-29, ISSN 1130-9458.

·Puig, A. (2013). ‘‘Pabellón Yota: experiencia espacial’’. Interiorismo Plus, Top Proyectos de Interiorismo (30), pp. 8-10.

·Zappulla, C. (2013). ‘‘Connections Between Architectural Design and Mathematical Patterns’’. Made Journal, (7), at Welsh School of Architecture, Cardiff University p. 74-85, ISSN 1742416X.

·Puig, S. (2012). ‘‘Entrevista con Carmelo Zappulla y Nacho Toribio’’. Via Construcción, (107108) pp.32-33.

·Libertà, Quotidiano di Siracusa Provincia-23 Settembre 2011. ‘‘Il New Italian Blood arriva a Siracusa’’. (2011). , p. 6.

·Salerno, M. (2011). ‘‘Gli under 36 di New italian blood’’. Il Sole 24 Ore, Milan, 26 March 2011, p. 3.

·Tepedino M., Toribio N., Zappulla C. (2011). ‘‘Spazi da vivere tra società ed ecologia. "Giovani Architetti’’. Il Giornale, Milan, May 2011.

·Zappulla, C. (2011). ‘‘Sarebbe preferibile un concorso’’. Voci, M.C. (2011), ‘‘Il Politecnico di Torino nel <<dragone>> di Isola’’. Il Sole 24 Ore, Milan, 16 April 2011 p. 4-5.

·Velez Trueba, G. (2011). ‘‘36 The Calls. A landmark building on a car-park site in United Kingdom’’. Future arquitecturas, (28/29), p. 16, ISSN 1390-6054

·Peng, X. (2011). ‘‘Suite Real Hotel Juan Carlos I in Special Feature’’. Interior Architecture of China pp. 162-167, ISSN 1672-2167.

·Azzeh, L. (2010). ‘‘Design Road brings together aspirers, achievers’’. The Jordan Times, Amman, 22 July 2010, p. 3.

·Molinari, L. (2010). ‘‘Italians do it better’’. Materia, (66), pp. 48-53, ISSN 1121-0516. 78

·Molinari, L. (2010). ‘‘Young Italian Architects’’. Blueprint, (290), UK, pp. 42-47, ISSN 0268-4926.

·Yingwei, J. (2010). ‘‘The feast of Superbox’’ in Fitting Trend. Interior Public Space, p. 169, ISBN 978-7-900774-70-5.

·Velez Trueba, G. (2008). Future arquitecturas, (11), pp. 10-13, ISSN 1885-8228. http://www.europan-europe.com/pag- es_eng/publication/ publication.php

1388-4239.

· Disey 7 (2006). ‘‘Vespella graveyard project’’

·Barba, J.J. (2007). ‘‘A010. Camping House – X-ref: Esther Rovira, Nacho Toribio, Massimo Tepedino, Jordi Ciuraneta’’. Metalocus, (020) pp. 128-131, ISSN 1139-6415.

·Da Silva, G. (2007). ‘‘Actualidad y futuro de arquitectura española – Entrevista Esther Rovira Raurell, Massimo Tepedino, Nacho Toribio y Carmelo Zappulla’’. Via Construcción, (45), pp. 84-85.

·De León, J. (2007). ‘‘Camping House, Barcelona, X-REF". Pasajes de arquitectura y critica, (87), pp. 12, ISSN 1575-1937.

una pregunta’’. Proyecto Contract – Casa Viva, (98) pp. 27-36.

·Gallagher, B. (2013). ‘‘Live/Work Poble Nou’’. b-guided> Barcelona, (#56), pp. 38-41, ISBN 977-157686-400-6.

·Marcos Arango, P. (2013). ‘‘Paisaje Líquido’’, Zoom. Diseño Interior, Interiorismo Arquitectura y

·De León, J. (2007). ‘‘MUUH HOUSE, Os Capelos, a Coruña, 2006, X-REF’’. Noticia. Pasajes de arquitectura y critica, (86) pp. 16-18, ISSN 1575-1937.

·Godó, J. (2007). ‘‘Concurso Nuevo Diseño 2007, Diseño joven con mucha energía. –Lámpara perchero Molla, Nacho Toribio y Esther Rovira’’. Magazine (La Vanguardia) pp. 90-91.z

AWARDS most beautiful restaurant of the world

In 2017 , my design for the Alkimia Restaurant located in the amazing city of Barcelona won the international award for best SBID design restaurant from the International Design Adwards .

It also won Best Signature Restaurant from Inarch Nazionale , an award given by the Italian National Institute of Architecture .

The space is a multi-sensory experience that suggests being under the sea. The walls are covered with CNC carved playwood panels digitally .

The restaurant is placed in the of the factory owners. My design fully respects the original interior design. Thus, the place, frozen in time, seems to have been colonised by the sea creatures of the Mediterranean sea.

Restaurant Barcelona (Spain)

A small, more intimate corner, accommodated by a large undulating sofa in ocean blue leather, is set by a mural of programmed led glass pieces projecting all sorts of . The sensation is that of being submerged in the abyssal depths

The chef

Jordi Vilà was born in 1973 to a family in which culinary culture is a fundamental ingredient. His mother was, and remains, an outstanding and experienced cook in a home that has brought together a large family under the same roof. This is in Papiol, a town surrounded by kitchen gardens. At the house, they canned tomatoes, bought ground beef for the botifarra, made panellets, brined the anchovies… But, even more than cooking, what excited Jordi when he was a little boy was eating. He has always been

When he was 15 years old, after telling his parents he was interested in cooking, he started working at the pastry shop Baixas. His father got him this summer job in the hope that he would quit after seeing how harsh the sector was. Instead, Vilà witnessed an entire new world open up before his eyes.

After studying at the Escola de Hoteleria Joviat in Manresa, he worked in several kitchens, including those of Casa Irene and Jean Luc Figueras. In 1998, he opened the restaurant Abrevadero on Avinguda del Paral.lel in Barcelona, where

restaurant that served tasty food. There, in addition to being the chef, Jordi began acting as a restaurateur.

Alkimia, and it was an instant success. In 2004, it received a Michelin star, which it has kept to this day, and, in 2006, the restaurant was also honored by the guide “Lo mejor de la gastronomía” (The Best in Cuisine) in the patisserie category.

After 13 years of non-stop activity on Carrer de la Industria in Barcelona, alkimia closed its doors, opening them again

brewery with which Vilà has collaborated since 2011 as culinary director of the group.

The new restaurant has an open kitchen out of which the chef offers two proposals: alkimia, the more gourmet of the two, where Vilà expresses his vision of the direction in which Catalan and Barcelona cuisine should be heading, contributing to the evolution of his classic recipes; and al kostat, the more personal and intimate side of Jordi excellent products that turn the act of eating into an everyday celebration. The food is fresh and prepared with attention to detail, designed to be shared and with bon vivants in mind.

In 2021, he received the highest distinction granted by the Repsol Guide, three Suns, for a career in which, this “visionary and wizard remains at the vanguard of new Catalan cooking, shaping tomorrow with traditional values such as the veneration of good products and hands-on work in his personal shrine”.

The furniture in the cocktail bar is made of pewter in conjunction with the bars designed by Jean Nouvel. In this space, the lighting is intensely intimate and relaxing, in contrast to the original stained glass windows typical of coastal towns in Spain.

The Acadèmia de Gastronomia i Nutrició de Catalunya has awarded Jordi Vilà the National Gastronomy Award.

Biography extracted from Jordi Vilà-Alkimia webpage

1 Michelin star, the second oldest in the city since 2004.

trolley for very cold white wines.

All the furniture has been utterly custom-made to suit the needs of the space. The organic shaped part of the piece has been manufactured with digitised metal casting machines.

The space is differentiated by an element that resembles a or a manta ray made of thermoformed playwood articulated and robotised to separate the dining room into two independent parts, depending on the restaurant's needs. .

The Alkimia Restaurant is located in a leisure complex, designed by Jean Novel in 2011. The project is a refurbishment of a 4.088 sqm ancient beer factory , Cervezas Moritz, placed in the inner-city which was transormed into a iconic venue. In this historic place, a hyperquality microbrewery, which produces the brand's beers was set up. Thus, the Antigua Fabrica Moritz becomes once again a place that bears witness to the vitality of Barcelona

The programme consists of restaurants, a bar, a bistrot, a shop and a bakery; all along with a multimedia room and a museum. The design concept enhances the original industrial architecture. However, it Shows the concrete tanks, the rusty copper alembics and, in general, every ancient materia. On the contrary, the new beer tanks are made of stainless steel while

Finally, the soft immateriality of light and graphic images are respectfuly dialoguing with industrial spaces. Regarding furniture, it is remarkable that the bars and tables are made of worn out pewter, which patina

The restaurant is located in the city center of Barcelona, consideration two elements: the pre-existingarchitectural context (including its old patina

Michelin-starred restaurant Alkimia (which is continuous scenography fostering a seamless sensory experience. sea lifeinspired skins, art installations and custommade furniture which establish a unique relationship with the surrounding space.

Jean Nouvel revisingtheworks

Simply spectacular!

It is an authentic piece of art!

The entrance to the restaurant is along a scenographic corridor covered by a wooden spine which, by means of a digitalised LED lighting system, emotionally prepares the diners for the gatronomic experiences that await them.

This element has been designed with respect for the original historic space. Thus, the decadence of the latest contemporary technology, has been superimposed.

El País (Spanish national daily newspaper)

El Español (Spanish national daily newspaper)

Barcelona (Spain)

·https://cincodias.elpais.com/cincodias/2021/04/16/album/1618593314_400384.html#foto_gal_1

·https://www.bonviveur.es/restaurantes/restaurante-alkimia-el-renacer-gastronomico-de-jordi-vila-y-sonia-profitos

·https://elpais.com/elviajero/2016/12/15/actualidad/1481818431_401428.html

·https://www.revistainteriores.es/espacios/restaurante-alkimia-barcelona_12181

·https://www.vinowine.es/restaurantes/alkimia-la-apuesta-personal-jordi-vila.html

·https://www.elespanol.com/cocinillas/vinos/20210417/carta-vinos-nuevos-restaurantes-soles-repsol/574193033_0.html

·https://www.metalocus.es/es/noticias/una-nueva-experiencia-arquitectonica-y-gastronomica-en-alkimia-por-carmelo-zappulla

·https://www.tripadvisor.es/LocationPhotoDirectLink-g187497-d10501371-i377246396-Alkimia-Barcelona_Catalonia.html

·https://www.mediodesign.com/portfolio/instalacion-para-restaurant-alkimia/

·https://www.timeout.com/barcelona/restaurants/alkimia-1

·https://www.labellesa.cat/alkimia-el-restaurant-mes-bonic-del-mon/

·https://www.behance.net/gallery/55216647/ALKIMIA-RESTAURANT?locale=es_ES

·https://archup.net/alkimia-restaurant/

·https://www.lavanguardia.com/ocio/20171116/432927533286/el-restaurante-alkimia-de-barcelona-premiado-por-su-diseno-y-su-cocina.html

·https://decoracion.trendencias.com/otros-espacios/restaurante-alkimia-ganador-del-premio-sbid-awards-2017-una-de-las-celebraciones-mas-emocionantes-para-el-diseno-industrial

Alkimia Restaurant Barcelona (Spain)

The original walls have been maintained and panelled with wooden panels carved with grooves that, in certain areas, perforate . This permeable cladding is backlit with lights that change colour according to the mood of the room.

The visitor is welcomed by a sensory art installation inspired by the test tubes of the mysterious Victorian natural science museums. The work consists of a series of onto which unknown sea creatures are projected using video mapping technology.

The restaurant design has been published as listed below:

Especially relevant for this application is my wide experience as a teacher in numerous European, South American , Asian and Middle East universities.

With 15 years of academic career , my teaching experience has been mainly focused on architectural, urban, interior, retail, hospitality, product and visual merchandising design, among other. My experience could be summarized as follows:

2021-22

University Master Degree Projects Teacher

CURATORIAL AND CULTURAL MANAGEMENT PROJECT

MsC ARCHITECTURAL COMMUNICATION (MAca)

2014-17

Design University Master Degree Academic Director

DIRECTOR AND RETAIL PROJECT PROFESSOR

MsC INTERIOR DESIGN OF COMMERCIAL SPACES

2008-13

Design University Design Degree Thesis Supervisor

THESIS SUPERVISOR AND PROJECT PROFESSOR

DEGREE IN FASHION, INTERIOR, RETAIL, VISUAL MERCHANDISING, EVENT AND PRODUCT DESIGN

2007-15

Design University Design Teacher PROJECT PROFESSOR

DEGREE IN FASHION, INTERIOR, RETAIL, VISUAL MERCHANDISING, EVENT AND PRODUCT DESIGN

2008-22 Lecturer

EDUMEET. Madrid. Spain

BIENNALE VENEZIA. Venezia. Italia

COLOR THEORY WORKSHOP.Amman. Jordan

EAFIT. Medellín. Colombia

ODTE. Santo Domingo. República Dominicana

DINOVA. Bogotá. Colombia

ELISAVA. Barcelona. Spain

IAAC. Barcelona. Spain

UIC. Barcelona. Spain

UE. Madrid. Spain

universities and cultural institutions all around the world.

Action and Passion

I don't wear a tie or bow tie unless required by protocol. Instead, I wear several piercings, a tattoo with the Sacred Heart of Mary and always use baseball caps. I enjoy sharing the aesthetic ethics educational community, as I prefer to let my own love for my students speak for me. I always wear black clothes made of natural fabrics that I can re-dye to extend their useful life. That's why, on the

I am a teacher of action always deeply grounded in theory, but I defend learning that does not continue to perpetuate the tyranny of the intellect, but that values the sensory knowledge provided by the body and its senses. I trust in the performative learning of bodies in movement perceiving, in an embodied way, the layers of information that unfortunately we are disregard in urban space because we are only attentive to how it is constructed and designed and not to what happens in it.

I passionately embrace the hopeness of social change, making inclusion a mode of cohesion among my students, whatever the nature of their identity was; because learning is meaningless if we are not able to make our young people learn something vital that, unfortunately, is too much taken for granted: to be good people worthy of the wonderful joy of living together.

On November 18 accompanied by my thesis director Atxu Amann y Alcocer the Culturópolis event organized by The Cultural Rights Plan , in Barcelona . musical sound of the peripheries and the processes of social transformation in which it is involved . The exhibition device I will use will be an explanatory panel integrated in an old rotating cassette display , in which, on one of its two sides, will be displayed small publications for the public contained in old cassette tape sleeves.

Within the context of the debate on culture, I will focus my discourse on the cultural and social inequalities.

CULTURAL EVENTS

POSTER EXPLICATIVO EXPOSITOR CASETTES (DE GASOLINERA)

Les Gitanes Ballen Reggaetó

LIBRITO-CASETTE

The Cultural Rights Plan

launched by the 6th Deputy Mayor will start to be implemented during the current term of office, under nine linked government measures and a specific communication strategy, championing such fundamental rights as the right to engage in cultural practices and participate in cultural activities associated with education, to communal and traditional cultures, to creation and recognition of diversity and also access to information, knowledge, and heritage, among others, connected to the following areas:

– Culture in neighbourhoods and community action

– Grassroots culture and cultural sectors

– Popular cultures

– Culture and education

– Feminist culture

– Culture and public space

– Cultural innovation and digital rights

– Museums and the city's cultural heritage

– Libraries

(Universidad

New public policies will be developed to recognise and extend cultural rights and guarantee their application as a fundamental part of democratic life in Barcelona, including pushing ahead with specific initiatives such as the implementation of the sixth hour for artistic activities; free admission to museums for visits to permanent collections; boosting existing cultural programmes.

EL CAÑOSONIDOROTO (MADRID)

Nacho 'tuneado'Toribio de reggaetonero

Jose Ignacio Toribio Perez

doctorando en Comunicacion Arquitectonica

Amann y Alcocer

arquitecta directora de la tesis

del programa de doctorado

Comunicacion Arquitectonica

Tecnica

Raymond Williams

Las Gitanas Bailan Reggaetón’

‘Atlántico Negro’

B riefly summarized, this master's degree seeks to reposition architecture within the field of knowledge it should never have abandoned: Social Sciences . Consequently, we have to reconsider that our buildings are inhabited by living beings -human and animal-, and that the public spaces of our cities have the supreme responsibility of creating collective social meaning , and this is not only possible to achieve from the discipline of design and technology.

Why a master's degree in architectural communication?

Architecture and communication ? master in architectural communication

* In the image, a group of students is shown performing a performative action at the Matadero contemporary art center in Madrid, in which the possibilities of applying instagran filters to the virtual environments of architecture were explored.

with the generation of theoretical knowledge enriched by action-based thinking.

what?

It is a master's degree taught during three semesters in continuity, occupying thirteen months interrupted by different rest periods. Teaching takes place mainly in a classroom-laboratory at the Escuela Técnica Superior de Arqu itectura de Madrid.

The program is developed in a hypermedial space-time as an environment capable of hosting, enhancing and structuring mediation and communication activities through words and images in any medium, environment and support that allows the

.

The teaching strategy supports Project Oriented Learning and develops a sequential structure of specific actions linked to different formats, variables and/or agents within the architectural realm process.

The subjects of the several modules -theoretical, methodological and instrumental- are superimposed on the development of

the projects; and their contents are incorporated as they are required within the progress strategy of each specific project; guaranteeing the fundamental knowledge of communication and socio-anthropological aspects of the architectural and urban project, as well as the ability to generate research processes linked to practice and the management of the necessary tools to carry them out.

This master's degree foresees the linking of the projects developed by the students with educational innovation projects and research projects of different na ture, with the Hypermedia research group, coordinated by Atxu Amánn y Alcocer, so as to ensure the dissemination to promote the continuity of activity around them.

The research elaborated for the Master's Thesis will serve as a basis for its continuation as a doctoral thesis for all those who wish to access the Doctoral Program in Architectural Communication, DOCA, of the UPM.

One of our most valuable resources is our independent radio station that allows us to disseminate research that considers urban space from the sonic and musical dimension of Sound Studies.space. since, at present, knowledge that is not shared is as if it did not exist.

why?

Architectural practice has many formats today. Traditionally focused on the responsibility of designing and constructing buildings, today it coexists with many other possibilities, among which are the reading of a reality that is transformed into a matter of communication and mediation within architectural and urbanism

.

Faced with the isolated world of an already outdated architectural practice, society demands professionals capable of interconnecting specialized worlds from a complex knowledge that develops systems of relationship, mediation, and communication, where action arises through transversal knowledge.

The program of this master's degree responds to this objective, providing research training linked to the practice of communication and mediation and social sciences within the framework of architecture, both from humanistic, sociological and dimensions and

from the technological, experimental and innovative character.

Communication is understood as a process of social interaction in which the behavior of a human being acts as a stimulus for the behavior of others. Precisely this bidirectional nature of communication, as opposed to the traditional unidirectional expression in architecture, demands interaction between architects and other disciplines in order to develop and manage shared codes in free processes with the rest of society.

MAca is an official master's degree in architectural communication of the campus of excellence UCM+UPM, promoted by the Hypermedia Research Group, which was created in response to a demand for specialization in a environments and in an emerging transversal professional practice generated by the revolution of the information society.

we consider artistic mediation not as a curatorial activity imposing aesthetics, but as a communicational richness with the capacity to create shared social meanings.

Use of multisensory ethnography as a recording source that relies on the knowledge generated by the bodies acting in the public space.

HYPERMEDIA

+ Hypermedia is a research group of the Polytechnic University of Madrid, based in the Department of Ideation of the School of Architecture, ETSAM.

+ Hypermedia has a set of techniques to generate content that integrates text, image, video, audio, maps or any emerging information support so that the result has the possibility of interacting with users.

+ Hypermedia as a model applied to teaching.

+ Hypermedia as an environment that hosts, analyzes, enhances and organizes the activities of people interacting with the environment in which they find themselves.

+Hypermedia as space-time and language from a gender perspective.

HYPERMAD

Our streets, squares and parks are places where we spend an important part of our lives. They are those spaces where we can meet with others and where we can learn to live collectively. The sidewalks and grassy meadows of our city can also be the places where we can live our intimacy and where we can build domestic experiences; a sort of big home where we can protect each other. For these reasons, we propose to share experiences, ideas and proposals about what we can do to make our city more and more friendly, inclusive and capable of taking care of us as we take care of it.

curatorialprojectteacher

theThisismeplayingaschoolgirlroleofaduring presentationperformativeinclass.

my work as a teacher in the master of architectural communication

After completing my master's studies, I continued my doctoral studies in the same doctoral program. My research topic is a continuation of my master's thesis, so I continue to study the internal frictions of the different fields of culture. For this reason I teach the subject of Curatorial Project and Cultural Management.

THE COMFY MENACE OF THE INVADERS BEACH CHAIRS

One of the most interesting performative projects I have done with my students consisted of colonizing the urban public space with beach chairs for any passerby to use.

The project was the result of a critical urban action, denouncing the existing regulations in Madrid regarding the use of public space. These laws prohibit standing still in the street, putting an end to the Mediterranean tradition of taking chairs out into the street and chatting.

Just resting this is my city !!!

RIGHT TO THE CITY

RIGHT TO THE CITY

As a conclusion, we observed that depending on the location and placement of the chairs, their effects on social behaviors were different.

When we placed the chairs in front of each other, people avoided sitting, in order to avoid conversation.

When we sat on an overpass while chatting, we were perceived as a threat and people stopped.

When we sat on the both sides of a street, as if in a village, cars immediately slowed down.

When it got dark, we placed the chairs at the entrance to the campus subway. In this case, only a group of sociology students stopped and participated. In contrast, engineering or medical students asked us very suspiciously, 'What are you doing?'

What in hell are youdoing here?

moral panic continued...

–or not–

It's a real pleasure resting a minute while delivering...!!

Good morning, madam!

What do you think about this funny idea of spreading beach chairs all over Madrid?

When we repeated the experience in a downtown square, a space with less speed than the university campus, the conclusions were very different.

Participation was much more meaningful and, in particular, was very much accepted by those citizens who really needed to stop and rest.

First, two package delivery drivers stopped to rest, taking a break from their hard day's work.

Equally interesting was that, as the number of elderly people sitting down to rest was increasing, even the local television came, as they thought our urban action was something worthy of appearing on the news.

back to the classroom...

What social behaviors were most interesting to you and in what public spaces did they happen?

How did the placement of the chairs influence the experiment?

Did the distrust of passersby vary depending on the time of day?

Once our experience in the public space was over, we returned to our classroom-workshop, where we organized a debate to discuss the conclusions that each student had drawn.

We counted on the participation of teachers from other subjects who intervened in the debate in a theoretical way because they had not been present in the experience.

Before showing these visiting teachers what had happened, we asked them what they thought would happen in each case. Surprisingly, the professors were not able to predict, as architects, most of the social behaviors we provoked with the performance. Perhaps this was our most valuable finding.

As a layer that could be read as a curiosity, surprisingly in this space was recorded one of the battles of the famous series. for the project.

01

In the landscape of 'Los Barruecos, occupied by large granitic rocks and numerous lagoons, there is an eighteenth-century as a work of art, as well as the livestock activities that took place there, which connects coherently with his idea of 'art as life and life as a work of art'.

It was Vostell himself who promoted the creation of some rooms in the museum to show the objects and techniques used to wash

For the cultural management project of the maaca 2022-23 edition, as usual, our goal is not to limit the students' the cultural and artistic fact.

Therefore, we propose to work with the museum that Wolf Vostell installed in a small village in Extremadura (Cáceres), that is, in the middle of nowhere, in which the power of the natural space as a place of action and performance, the exhibition of works frozen in time, as they were created through the happening, are combined with a thematic museum of the wool laundry designed according to the usual guidelines of popular didactic museology.

that has been equipped with the usual museum signage in these enclaves of tourist interest of contemporary pop cult.

In conclusion, we have set ourselves the ambitious task of getting our students to think about the means of cultural communication, the typologies of culture and the interactions between them. Approaching cult works of the Fluxuxux team to interactive museums with buttons and luminous pilots and, why not, to the contemporary

Waterwheel room

Vostell and the shepherds

Wolf Vostell, Fiebre

de

Once again, we make use of the archaeological recognition of spaces, in this case natural ones. But we are talking about a search disinterested in the great historical symbologies, and obsessed in a fetishistic way by matter, textures, smells, odors and roughness. We are not very fond of strict rules of the game, indeed, we love to change

fascinated by clues, sometimes lying, sometimes revealing, but in any case, disconcerting. That is why, a priori, we are interested in activating a Dadaist pilgrimage, an absurd migration of objects or even the remains of living beings or excrement, between contexts that we do not know if they are completely alien and in each case have begun their particular drift towards post-humanity.

In any case, we do not intend great activation of space and cultural even misery and scarcity.

What is the sense of museologizing performance art?

Is it not the antithesis of the happening to freeze in time and space the works of Marina Abramovic in the art center designed by Rem Koolhas?

What are the political implications of Wolf Vostell's personal decision to turn the Barruecos landscape into a work of art?

a Game of Thrones battle in this enclave?

At what point in the interaction between art and nature do the social meanings of the aesthetic-creative action emerge?

Do art and its architecture have the potential -and the right- to try to bring rural environments out of their depression?

Do we have the power to intervene in this natural space?

Should we dialogue with the local inhabitants and involve them in the operation?

As usual in MAca's Curatorial Project, the objective is not to 'teach' curating, but to understand the transmission of art as a communicative act that

will go as far as the curator and his possibilities allow.

SHEEP WOOL

OAK ACORNS

COW DUNG

SNAKESKIN SHEDDING

Construction process

Opening of the sculpture

PROYECTO CURATORIAL

research skills

To briefly sum it up, my MSc in Architectural Communication was an intense research skills training focused on Architectural Humanities and in subjects such as Cultural and Museum Studies, Creative writing, Sociology of Architecture and Arts, Curatorial Practices and publication's management , which I consider essential to apply for your offer as an

WrightI copywriting digital content marketing for architecture . written content for several construction companies and architecture studios.

RESEARCH SKILLS

architectural communication manager

CULTURAL

I

Studies

Exhibition

Resources

Research.

DATA COLLECTION AND INFORMATION MANAGEMENT

I have acquired the capacity to carry out cultural research projects and afterwards communicating and disseminating their results.

In this photo I am 'performing' my MSc dissertation.

In collaboration with a gypsy feminist NGO, I planned that 200 gypsy women would colonize a museum dancing Latin rhythms.

With this action, I contrasted my theoretical research with conclusions drawn in collective events.

CREATIVE

Speaking.

some of my master's degree best projects and

He infiltrated the work of creative women into a gossip magazine. Moreover, he organized a puppet debate in the school and a surrealist bingo in the community centre... José Ignacio Toribio is hilarious!

WITH THE MAGAZINE A PRECIOUS SCARF INSPIRED BY CREATIVE

I n this game the prize is not money but words with which to compose a collective surrealist text.

A gallery owner, an artist and a TRAP singer puppet women discussed the meaning of art with students.

DADAIST BINGO FOR THE PEOPLE

puppet DEBATE IN THE SCHOOL

T he infiltrated publication started a conversation in the hair salon about creative women.

HACKING GOSSIP MAGAZINES

NARRATION AS ARCHITECTURAL TOOL

The process of cultural repression exerted by reason on the sensual values of an aesthetic exis tence has been going through, in one way or another, the whole history of Western thought. When Herbert Marcuse , relying on the idealism of Friedrich Schiller and the Kantian notion of imagi nation, revealed the political potentialities of the imaginary as a vehicle of liberation, he announced the possibility of an aesthetic ethos that, as a result of the evolution of technique and work into a kind of anti-art contrary to the illusory of forms of representation, it would give rise to a regenerated sensibility as a new principle of subjective reality . Consequently, this new Marcussian society structured on the playful and the hedonistic, would reactivate the order of the sensuality of idealism, at the same time as aesthetics, understood as the science of sensual knowledge would allow men and women to know the true political freedom offered by the enjoyment of beauty. Finally and, returning to Kant, such sensualism would only be possible thanks to the creative faculty of imagination. Consequently, appropriating, on the other hand, the Augustinian conception of time, this imagination, as a device for projecting expecta tions, is the root of the future which, rooted in the present, makes life always waiting to be narrated in a pre-narrative embryonic state . With all of the above, I intend to propose that the nietzschean conception of existence as an aesthet ization in the concept of narrative worked by Paul Ricoeur . In this way, the tragic nature of existing as an artwork is manifested in the form of a life story. Thus, every man and every woman is a masnarrative identity. This identity will shape its par ticular nature, according to the continuity of the ly expressed, when lived. The construction of identity occurs in the same way as Aristotelian poetics establishes for the contruc tion of the plot of a tragedy. It is a distillation process in which a series of heterogeneities are just as the poem’s plot draws from a state of dark latency, only those elements which the poet’s imagination wishes to incorporate into his loom, our identity is woven only with those entanglements of narrative drawn from the tangle of stories that accompanies us, from which we spin

our own tangles of arguments.

Without abandoning the thought of Aristotle we must remember how the philosopher proposes that the representation of a tragedy subjects the viewer to a kind of psychological gymnastics which, in the form of passive therapy, allows him/her to assimilate the emotional patterns that govern the play and that, in an equivalent way, will be lived in the personal reality. In this way, every human being as an artist and a work of art at the same time is endowed with a narrative intelligence, which Paul Ricoeur calls phronetic intelligence, and which comes from the prudence originated by the praxis of the everyday.

traditional folk tale closely linked to our personal memory, which is composed in the midst of a con the way in which it interprets the sedimented nar rative structures in the form of personal back ground, coming from past experiences that, at the time, were unpublished experiences. And, bearing in mind the nebula of possible stories that accom pany us for life, we must be aware of the complexi ty that the social body acquires, as a dense whole

time and space. Thus, taking up Aristotelian thought, we must say that the qualities of poetry to generate knowledge through the assembly of stories, have a philosophical nature superior to that of the theoretical use of reason

At this point, we arrive again at the unresolved con reason, the differentiation that P.Ricoeur's thought establishes between the meanings that encode every story and, therefore, every vital work of art, is clearly revealing. It speaks to us of a linguistic meaning , with an eminently structuralist aspect, that sheds light on the semiotic properties of envi ronmental conditions, which make the message intelligible. This symbolic dimension of art and with it, of existence, focuses on the elaboration of mean ing through the implementation of the deep imperative , which allows the construction of an interpretative and logical discourse. To quote Jean Baudrillard , this discursive rationality is strongly linked to the seductive folds present in the sensual and, therefore, imaginative.

The theoretical reconstruction of the rules that give logical coherence to the story is what P. Ricoeur calls ‘narratology’ and that, in no case, generates narrations. Recalling Nietzsche's anti-socratism,

the idea that only the intelligible can be beautiful, leads us to a Socratic Aesthetic that ends the Attic tragedy, marking the beginning of Euripides' non-Dionysian theater. With this, we are presented with the triumph of the theoretical thinking that builds images and concepts, the engine of this science of narration, which vitalism relates to the luminous and rational logic of the Apollonian . This mechanism is endowed with the language of J.L. Austin can lead us to accept elaborate fallacies, when common language can elaborate sophisticated philosophi cal systems.

At this point, we move to the territorialities of archi tecture and, especially, of architectural thought, to denounce how often, our economic and social reality pretends that something is narrative when it is actually narratological.

By illustrating these pages, I have incorporated a series of images about one of my latest research projects, in which I intend to explore the estrange ment that arises when the discursive is forced to get dirty with the daily life of the narrative. So, I wonder what consequences would happen if the complicated language of an architectural publica tion had to adapt to the format of a supplement delivered weekly with a gossip magazine in a neighborhood newsstand. The project is based on an evident ironic acidity by naming the publication Haut Culture and publishing in its interior the

work of four women architects. It is more than obvi ous that this type of press is not only read by mature women of low cultural level, but for my research, this is the target I am interested in. Like author Ien Ang in her famous text Watching Dallas , she investigates the intersections of the daily narrative and erudite discourse that muddy the frictional surfaces of popular culture, mass culture and the legitimized culture of the elites, my project aims to generate controversy around the mechanisms of exclusion and sexism that are acti vated in this border regions.

So,

What if a female architect’s work is published in a gossip magazine?

Although I am currently empirically checking the result of the experience with a real audience, the study warns us that the need to communicate and build architecture with the sole intention of creating a message with strictly linguistic significance is a real aberration given that this rational discourse incorporates the ordinary narratives of the inhabitant, enriched with multiple psychological appreciations.

I WONDER IF THE BUILDINGS OF THESE ARCHITECT WOMEN ARE AS NICE AND PRACTICAL AS THE SCARFS THAT ARE GIVING WITH THEIR MAGAZINES ...

For this reason, the empirical dimension of this work aims to draw theoretical conclusions using a game as a research method. That is, I am making produced is deposited in the press area of a super market, in a newsstand or on a table in the hair dresser’s waiting room. With this small indiscreet invasion, it is intended to observe the reactions of the ladies who, with their particular life stories, are in turn part of the daily narrative of the non-singu lar space of the neighborhood. My experiment has started with a group of ten women, and the results are frankly surprising. My project suggests that an architectural publication, typical of educated the pages of a gossip magazine and is communi cated from a frivolous and inconsequential narra tive. Along with all of the above, if architecture is usually diffused only in narratological terms, in this case it is done with the daily narrative of this type of magazines. In turn, this mimetic narrative is inserted into the narrative of the readers’ life, who, in turn, inhabit an ordinary architectural narrative (the hairdresser, the supermarket). The theoretical edly hypnotic. the research project that I will propose below, in order to place it solidly in the line of work ‘Architectural imaginaries: narration as architectural tool’.

As can be deduced from this text, I am currently especially involved in establishing clues about the urban, architectural and social mechanisms that are generated through the interaction between the cultural categories that are traditionally estab lished. Without completely agreeing with conven tionally managed notions of culture, I intend to inscribe my research in the context of narrativity, starting from a fundamental idea in my work:

“Life is a narrative artwork outlined with the construction of individual and collective identities”.

that share spatiality and time, and have the following genetics:

BODY 01

The narrative intelligence that, with a vitalistic and poetic origin, allows the construction of a tragic culture that displaces science and defends sensuality as the host of the everyday, has a phronetic nature radiated from the imagination. In this way, each individual has an artistic essence as a narrative-creative identity through the process of identity construction, which is never previously given to us. These works of art-life embodied in bodies united by the narcissism of the common emotions of an ethics of aesthetics , build narrative plots moved by a collective eroticism as a desire to stay together.

The creative narrativities arising from this politically liberating sensual im-

examples of the art of life, structuraly related with the linguistics of rational narratology.

These territories, which according to Gilles Deleuze are necessarily peripheral, are the spaces of resistance that constitute authentic popular culture, decentralized towards the domestic and familiar, with an eminently feminine nature, as Tania Modleski said

The culture born from the everyday, generates an aesthetic ethos that, together with music as a literary resource, forms the active node of the

of normality, is made up of the marginal, with a dense nucleus of intricate ways of living with extra-linguistic meanings.

BODY 02

For its part, the rational theoretical discourse derived from the syntactic analysis of stories-lives, does not produce any kind of narrative, but rather focuses on developing a precise knowledge of logi cal and semiotic problems, in dialogue with the principle of aesthetic reality . This second body belongs to the Socratic Culture of the praise of the intelligible encoded in the linguistic meaning.

and the city are only communicated from the discursive and interpretive dimension of narratology, with a pseudo-narrative epithelial encapsulation.

Thus, these foundations of living, which are the architectural spaces, have a symbolic mediation function, since they constitute the contexts of description that allow us to read and interpret the narratives activated by the body-stories. In this way, life as a masterpiece is symbolically mediated by space and the semiotic charge that makes feasible the readability of the actions and behav iors that it supports. At the same time, the art of living receives a narrative mediation that comes from the stories that they are in suspension in our habitat and, together with the personal tradition of memory, determine the innovation/sedimenta tion ratio that our life history possesses. In contrast to the previous body, in this case we are in the territory of the Legitimated Culture, occu pied by the visual arts and architectural produc

tion. This medium, with a centralized, urban and public character, is ordered around a rational civilizing adrocentrism with an active-productive predisposition, which reacts with the passive-re ceptive node of the sensuality organism of the previous section.

In this case, the node antagonistic to that of the aesthetic ethos of Popular Culture and the narra tive, is made up of the architectural and the narra tological.

In conclusion, the reaction produced between these two bodies (narratology / narrativity) togeth er with the vital organs that constitute them (Pop ular Culture-sensuality / Legitimate Culture-ratio nality) will be the energy source that nourishes the research project that I will propose below, and justify its complementarity with the line of research for which I offer my collaboration.

This is a version of myself in aDali's moustache mood. However, if there is any inconvenience with that, I would happilygo to the barbershop

trabajo master

Trabajo Final de Máster Completo en castellano

Reggaeton

in the polarization of the contemporary space

The bodies of a empowered racialized women’s group dancing in a contemporary art museum...

Are they a narrative artwork?

The previous question does not lead us to performing arts, it claims the use of artistic action as research tool

. And it is that the happening limitations as resistance may be due to the aestheticization of elements taken from reality, ignoring the embodied narrative identities that they are spontaneously projecting onto space an ethics of sensuality, from a collective eroticism of being together -

chitecture and their linguistic and speech relationship with the social marginalities that are polarized in the city, we will be in a posi tion to unravel the tangle of stories that are organically intertwined on the narratological plot of the contemporary culture.

1 Urban Sociology the Sociology of Art and Cultural Studies, approached from a performative and narrative perspective. In this context, the aim is to analyze the ways in which contemporary arts discourse is actively involved in the poshuman complexity of the city.

2 It has been established as starting conditions for this work, the phenomenon of decentralization of art observed in various European cities that, by locating centers of contemporary creation in popular neighborhoods in the center and the suburbs, compromise the worlds suburban identity.

4 In this regard, we have begun studying the case of Madrid.

ly in the so-called Arganzuela district, although the cultural circuits have been decentralized, according to the process exposed in the previous point, the worlds of art have been complicit in the depopula tion of these traditional neighborhoods as ‘Lavapiés’, due among others, to the increase in the price of housing.

.

3 On the other hand, we have continued analyzing the southern metropolitan periphery

CA2M. This creative space is a contemporary art center with an important collec tion, which belongs to an international cluster of museums located in European working class outskirts, which would be the general frame work for this PhD research, in order to study marginal narrative identi ties.

5 As a result, the popular classes progressively leave the city center and settle in the last peripheries and in the municipalities of the

borhood identities, always at the limit of social vulnerability situations

6 With these tensions between the arts and the social reality of Euro pean cities as a background,

GYPSY GIRLS DANCE REGGAETON aims to give a provocative title to an investigation that projects an analytical gaze on the narrative identity aesthetics that emerged in the social melting pot of the sub-industrialized city , in which postco lonial immigration is generating an unquestionable cultural wealth, consequence of the interaction between stigmatized communities and the the low-income locals with the new inhabitants.

7

its part, the contemporary art centers of the Parisian banlieuses’, for

where the construction of hybrid identities between the locals and immigrats, mainly of African origin, highlight the delicate relation ships between Elite Culture and Popular Culture Here we return to the beginning, to vindicate performative research by ethnographic happenings, such as the occupation of a museum by dancing racialized women, to analyze how embodies and spaces are (re)narrated when they interact.

8 And these European contexts are intended to be explored with the aim of determining new generic paradigms, which allow us to intuit whether the new social dynamics will shape a clearer relationship between the people, the arts and, unquestionably, the market, than in previous historical situations.

9 To conclude, highlight that the aim is to analyze the narrative and narratological plots woven between te so-called ’Legitimized Culture’ ‘Popular Culture’ and ‘Commercial Culture’ that, embod ied in the new urban aesthetics and feminities, on the one hand, and by the new spaces of creation of the periphery, on the other, they update unsolved discussions about the social responsibilities of art.

Architecture is the narratological

narrative aesthetic identities is woven.

Deleuze exposes in his work how disciplinary societies had given way to a new being freed

words of order from communication.

1.1.Michel Foucault and the arts of life. Tekhne tou biou

bio-political concepts worked by Michel Foucault , even more powerful were his last contri butions that made him return to classic cyni cism, armed by a robust marrow of vitalist sub stance and a solidly aesthetic structure. Sample of the above is the following quote:

“What surprises me is the fact that in our society art has become something that concerns only matter, not individuals or life, that art is a specialty made only for experts, by artists. Why couldn't everyone make their life a work of art?

Why can this lamp or this house be an object of art, but not my life?”

When Foucault returns to cynical thought, the aesthetic socratism of existence awaited him with a delicate concept: Épiméleia heautous. Taking care of yourself. These rules, fundamen

nastic of freedom, allow attaining ataraxia or absence of regrets, acquiring the mastery of arche , which is the ability to free oneself from dark passions.

And in the journey towards stoics and epicure ans that Foucault initiates, we realize that the artistic experience of the world that he offers us, makes us perceive ourselves not only as works of art, but as political individuals capable of resisting within art itself.

Deleuze's deep distrust of the media is the epicenter of his divergence from Foucault's aesthetics. Deleuze intuited that the hybridization between art and life would produce an undifferentiation whereby art would become a strategy of capitalist control.

In Deleuze, artistic creation obtains the capaci ty of resistance against the system of its differ entiation with respect to the language of every

Finally, it should be noted that the Deleuzian conception of art always places it in the collective, minor and popular sphere. It is "a thing of the people", installed in the peripheral marginality of the resistance.

1.3.Nietzsche and his tragic vision of art

Walking tricked by Deleuze's acrobatic elegance and Foucault’s roundness, we reach tremble with his eruption of untamed theories. Zarathustra yells from the cave:

"What it is legitimate for us to suppose of ourselves, is that [...] we are images and artistic projections and that we have our supreme dignity in signifying works of art, because only as an aesthetic phenomenon the world and exis-

For Nietzsche, the substrate of art is essentially tragic. That is why his aesthetic vitalism is based on the vision of Attic tragedy, as an sublimating it as a spectacle

S.HALL

Z.BAUMAN

F.SAUSSURRE K.MARX

J.DERRIDA

T.MODLESKI

of anti-Platonic origin that, by chance, surprise us in the supermarket or prying on the smart phone. Foucault read these bursts of everyday life in mechanized serigraphies of pop art, in photography... in the new serial reproduction mechanisms, which had become part of the techniques of the visual arts. This sort of visions offered an emancipatory potential that traced

all purist and self-referential artistic produc street

Consequently, art connects with life, and it is stripped of all particularity. In this way it is installed in the subject as a powerful source of truth to combat power.

1.2.Gilles Deleuze and art as resistance

But if Foucault's philosophical construct was articulated by an artistic conception of exis tence, no less was that of his contemporary Gilles Deleuze, who shared with him the hope ofcipation.

ence of the Dionysian , where the eternally changing accepts all the accidents of fatality and leads to the fusion of the individual into the collective ; but also of the Apollonian , which comes to be the visual dimension of art

In this way, the outburst of Dionysus can be

Apollo. The philosopher cautions that these two opposing creative impulses occur not only in tragedy, but also in popular song. With the above, there is, as in Foucault and Deleuze, a connectivity between the arts and the people.

In general, Nietzsche gives a tragic nature to all art. Thus, all life as a work of art will be a trage dy exposed to the unwavering evolution of chance. Tragedy is not found in the beauty and appearance of what is conventionally under stood as art, it is found in the Dionysian annihi lation of individuality transcending perceptible things to reach eternity and universality.

song and popular culture are manifestations of the tragic. Therefore, contradicting Nietzsche himself, the tragedy does not die with the socratism staged

by Euripides, but is perpetuated by the popular manifestations of art.

1.4.Socrates and his ‘Epiméleia heautou’

Before coming to the never written words of Socrates , we must go through the passion with which Nietzsche accuses his philosophy of being the seed of Euripides' theater, which ended the Attic tragedy. In these dramatiza tions, which underlie the idea that only the understandable can be beautiful , the art of

reason. From this moment, according to Nietzsche, the Socratic culture takes over the West, which will recognize as its only ideal the theoretical-rational human being who works in the service of science.

up considering Socrates as a musician and an artist of life, in which a creative vitality looms, tempered by the serenity of the philosopher who does not lose himself in his instincts and passions.

Thus, Socrates is consistent with the idea that knowledge is not possible without praxis, to establish the measure of the world; from which

it is concluded that Socratic thought is clearly artistic.

1.5.Pierre Hadot, Alexander Nehamasand the philosophical art of life.

After nourishing ourselves with the wisdom of Socratism, we reached the peak of this work

embodied in the Epicureans and Stoics (Sene ca, Marco Aurelio and Epícteto) are found.

The art of life, practiced through the spiritual exercises and philosophizing of these eternal

Pierre Hadot , Foucault's successor at the Collège de France, and in parallel, by Alexander Nehamas .

Hadot raises a philosophy as modus vivendi, which places us at the epicenter of life itself. The was an expert in Seneca, takes from the Latin philosopher the notions of self-culture and aesthetics of existence , also assumed by Foucault.

artist of life, and he elevates Greco-Roman philosophy to the category of integral art for existence.

Finally, it is very remarkable in Hadot how the consequences of a creative-philosophical life are extrapolated to the social plane, establishing interesting concomitances with the socio-politi cal conception of the aesthetics of life, discussed by Foucault.

For his part, for Nehamas the ethics of self-care generates a new art of living. According to him, we cannot speak of the art of living in absolute terms, since there is no single art of life but The Arts of Living.

1.6.Zygmunt Bauman and the art of creating an identity

Without the thanks that, in my opinion, Zygmunt Bauman should have made towards Foucault and Nietzsche in their formulation of life as art; he recovers the vitalist precept of the tekhne tou biou , and reaches particularly interesting conclu sions.

Overcoming the statism of the 'project de vie' of Sartrian existentialism, which established an unshakable existential trajectory, Bauman intuits that the contemporary world does not allow to have a single vital objective, but on the contrary, all existence is understood today as a process of adding sections directed by transient motivational vectors.

all established art, Zygmunt Bauman argues that the space of the arts has been dematerial-

The product of the art of life will be the construction of an identity always ‘in statu nascendi’. This generative process obtains its raw mate

allow the individual to approach some groups of people and reject others. At this point, a wide

as James House, François Cubet, Gianni Vattimo, James Côté, Michael Berzonsky or Michel Maffe soli, among others, provide valuable clues regard ing identity.

To conclude, we must highlight Bauman's allu sion to Loïc Wacquant

cept of ‘precariat’ to refer to stigmatized social groups that have to build their identity on the hostile stereotypes built by the elites.

In this regard, the nuances of this theorist are essential to determine the conditions of cultural exclusion suffered by sectors of the population whose cultural code is not normative.

1.7.Judith Butler and life as performance

Contextualized within the theoretical line of Zyg munt Bauman in which the existential work of art

the theory of performativity carried out by Judith Butler .

ing that this is a naturalized construction inte grated within a system of hegemonic heterosexu ality. She presents gender-identity in terms of performativity. For this, Butler starts from Fou cault's approaches that establish that there are no biological bodies, but culturally constructed bodies; mediated, among other factors, by language.

It is relevant to study the interesting intersections that can be established between the present author and the aesthetic theories of the construc tion of contemporary identity.

ZONE 2. CULTURAL STUDIES

Directed by the previous approaches that point to the idea of artistic existence, it is inevitable not to encounter an exciting question: If individual iden tity can be shaped as an artistic project, whattude?

If we also take into account that several authors consider that these works of the art of life, come from the popular; It is essential to analyze the contributions of the Cultural Studies started

ham School, which developed its research work from two well differentiated paradigms:

2.1.Culturalist paradigm

R. Williams, R. Hoggart and E.P. Thomson

Cultural studies appears with the intention of revising Marxist postulates, which understand culture as part of an ideological superstructure

approach, other theorists such as Althusser , Gramsci and other authors of The Frankfurt School also reacted.

Initially, they vindicated the popular culture of the working class as opposed to that of the wealthy classes, understanding the cultural confrontation as a particular manifestation of the working cause.

The Birmingham International Center for Cultural Studies was founded by R. Hoggart , R. Williams and E.P. Thomson , authors of essential texts such as Culture and Society , The Long Revolution , The Uses of Literacy or Making of the English Working Class

2.2.Structuralist paradigm Stuart Hall

At the end of the sixties, the Birmingham International Center for Cultural Studies was redi rected ideologically and methodologically by the hand of Stuart Hall who assumed the emer gence of the consumer society and the media, and incorporated them into his research.

S. Hall established a close dialogue with the most advanced social theory of its time: Structuralism. This paradigm shift marked the transition from a humanism based on literary studies to structural ism inspired by psychoanalysis and Marxist social theory.

Structuralist ideas are inspired by the linguistic theories elaborated by the Swiss Ferdinand de Saussurre and the semiotic theories of Roland Barthes , to apply the syntagmatic mechanisms

Levi-Strauss , who leads one of the most import ant theories of the last century regarding the con struction of meaning.

According to structuralism, culture is linked to institutional means. Consequently, the central point of Cultural Studies at this time will be to determine how culture becomes merchandise. Once the structuralist stage is over, the Cultural Studies abandon Marxist approaches, and approach methodological humanism again, Baudrillard , Lyotard and Derrida

ZONE 3. FEMINISMS AND CULTURAL STUDIES

Coinciding in part with the spread of currents of

theory occurred.

Although the areas of friction between Cultural Studies and Gender Studies have never been well lubricated, the relevance that feminist claims suppose for the study of culture and its territories of exclusion, is unquestionable.

Given the tensions between ‘High Culture’ and ‘Low Culture’, feminists worked with special dedi cation, highlighting the obvious contradictions between popular culture and women.

and the role it gave to the female role. In this par ticular, the analysis of women's magazines will be the key piece of feminist research, with opposing views in this regard. We refer to Betty Friedan , who will denounce the implications of popular culture in constricting women. For her part, Angela McRobbie assumes mass culture as a space of feminist resistance. At this time, the rele vance of women as a great consumer of commu nication is revealed.

Later, the visions of thinkers such as Lana R. Rakow appeared, who developed a meticulous study on the links between culture and women.

image that popular culture has produced of women, and defends the feminine productions carried out by these means. On the other hand, it analyzes the feminine consumption of popular culture, thus gathering enough theoretical mate

rial to formulate a Feminist Cultural Theory

studies by Judith Williamson which elucidates natural and feminine, and consequently, between the world of culture and masculinity. In this way, women are associated with the repro space, and separated from any possibility of intel lectual growth. For her part, Tania Modleski

ular culture has been feminized to revile it.

In any case, popular culture has incorporated the feminist perspective, producing new gender meanings, such as Girl Power.

ZONE 4. SOCIOLOGY OF ART

Although this last area will focus on the analysis of the social implications of art , we will try

the narratives of cultural exclusion as scenarios of marginality.

One of the spaces where it is assimilated that

educational ones.

This unacceptable facet of academic training processes has already begun to be analyzed by classical thinkers such as Montaigne and Rousseau , who, in their day, describe rigid educational methods based on memorization, which com pletely exclude the sources of popular wisdom. Currently, the contributions made by Paulo Freire , Pierre Bourdieu , Michel Foucault and Hanna Arendt are remarkable. one of

society is museums . Somehow, these have become the border territories between normal ized culture and popular culture.

There are numerous social groups that will never go to a museum because they consider that the world that exists there is completely alien to their needs, interests and capacities.

In this direction, we have an extensive theoretical elaboration. Thus, central points such as the processes of exclusion and their political conno tations that take place in these spaces are stud ied. At the same time, the strategies adopted to implement inclusive cultural mediation are ana lyzed.

We can establish three large groups of research ers of great relevance in the border territories between art and sociology. Firstly, highlighting his work in exclusion studies we have the follow ing: B.MacMahon & Quin, A. Mouchtouris, T. Bennet, P. Bourdieu, P. Rasse, M. Castells and N. Heinich.

Second, these authors worked on issues related to power and politics: M. Foucault, T. Clark and C. Duncan . And Finally, the mediation systems will be discussed by: M. Proterydes, J. Davalon, S. MacDonald and C. Delgado

the

of the

According to the extensive bibliography studied, since Arnold and Leavis began to pay attention to the so-called Popular Culture, Cultural Studies. These achieve their maximum development with the so-called Birmingham School, which begins its journey with R.

Paddy Whannel and John Storey will continue the task of the found such as those adopted by the Frankfurt School, Structuralism or Neogramscianism. At the same time, we must emphasize that it is not possible to disassociate the analysis of cultural expressions from an attentive look at the implications that these have in feminisms theoretically constructed by Tania Modleski, Angela McRobbie, Laura Muluey and Judith Butler, among others. For their part, authors who brought poststructuralism, such as Jacques Derrida and Michel Foucault, together with the postmodern thought of J.F. Lyotard, J.Baudrillard and D.Hebdige, completed the contemporary background on Cultural Studies.

Based on the theoretical base provided by the aforementioned authors, we have developed a detailed analysis of the different areas ent manifestations of culture. First of all, it is essential to manifest the complexity of a positivist from the sublime selection of the best that man has produced, defended by Leavisism; to practically any manifestation of human existence.

Apart from these important terminological issues, this diagram has attempted to outline the global mechanism that engages, from the so-called LEGITIMATED CULTURE, using the terms of Pierre Bourdieu, to the most inaccessible subcultural manifestations produced by the current POPULAR CULTURE.

01. LEGITIMIZED CULTURE

The legitimized culture favored by cultural institutions (museums, foundations, galleries ...) acts as a containment barrier for popular cultures, preventing their access to the elitized culture. In this way, they will be completely exposed, without any intellectual guarantee, monic economic systems exercise through their most effective organisms: the market and the mass media. The marginalization

01.01. CULTURAL COLONIALISM OF ACADEMICISM OF TRANSGRESSION

Mainly exercised by the cultural organizations attached to the aca demicism of transgression (P. Bourdieu) that in the case of Madrid, and La Tabacalera; his approach to the popular classes, is undertak en from an indoctrinating paternalism, which activate 'cultural charity' campaings through workshops, seminars, conferences... These programs, consciously or unconsciously, insist on the idea that popular culture, although it is an appreciated reference, it is not fully legitimized.

01.02. CONTEMPORARY ACADEMICISM

In this case, we observe a process of manifest exclusion exercised by the worlds of contemporary art validated and, widely commercial ized, by tourism and commercial promotion.

We could speak of a kind of Contemporary Classicism strongly sup ported by private collecting, typical of contemporary art fairs. For their part, the museum spaces of this academicism, such as the Reina Sofía in Madrid, have been actively introduced into the circuits of tourism and the promotion of what is considered worthy art, carried out by educational institutions.These spaces do not take risks with the artists they support, to ensure the presence of the international regular visitor. Although they incorporate mediation strategies, they often ignore the heterogeneous aesthetics of the periphery, without taking into account the interaction with possible marginalized audiences.

01.03. AESTHETIC REACTIONARY POPULISM

At this point, we refer to the artistic conservatism defended by philosophers such as Ortega y Gasset, who have spread the idea that ‘the people’ plebiscitarily rejects contemporary art. Mediation with the so-called 'special publics' (retirees, schoolchildren, groups in danger of social exclusión…), the economic democratization of access to museums and the elimination of the symbolic aspects of a more conceptual art, incites the popular classes to accept , that art.These ideas are consolidated with the promotion of classical naturalist artists, exalted for their technical virtuosity in representa tion. In this sense, governments meticulously outline the mythical

la ...), who represents strong patriotic values, which extend the belief of the cultural superiority of a given nation. At the same time, the ideology of the divinized creator is internationally extended and

large tour operators.

In this sense, the commercial process of art launched by countries

ability of its economic exploitation.

As a consequence of all the above, the feeling of cultural indignity of the popular classes is reinforced. Thus, they see in art an inaccessible world of exceptional creators, capable of performing unsurpassed technical feats.

In this way, an ingenuous vision of art is cultivated, as an exercise in plastic mastery impossible to achieve. According to this argument, what makes art admirable is the complexity in the material realiza tion of the works. In this way, contemporary works of art are still commonly equated with a child's awkward doodles.

cultural networks, there are the socio-cultural neighborhood cen ters, which build the idea of ‘art lover’. This approach trivializes the creative potentialities of the individual, blurring them with the

in the polarization of the contemporary space Reggaeton

01.04. EDUCATIONAL INSTITUTIONS

For its part, the regular teaching of art supports the legitimate culture of the elites, focusing on the masterpieces of the great

tact with creation, from a mythological and esoteric vision of art. Thus, the creative nature of children and adolescents is ignored, and a classical culture is imposed that relegates the heterogeneous original culture to a secondary level. These genuine manifestations are abandoned in marginalized spaces, in amorphous, embryonic,

Consequently, the popular classes themselves renounce, in a certain way, their traditional culture; condemning this to a 'non-conscious' condition, completely exposed to market aggressions.

02. POPULAR CULTURE

The controversies involved in delineating the limits of the so-called Popular Culture go through intense ideological considerations that reveal the way in which the processes of industrialization and urban ization have erased these perimeters.

Therefore, under the polysemy of the terms "culture" and "popular", the market economy has woven a dense tangle of inaccuracies between what belongs to the traditions of the working class and, therefore, is produced by itself for itself; and the cultural consumer products typical of the so-called COMMERCIAL CULTURE, which are generated by the large entertainment industries. As we said, the complexity of the relationships between people's own culture and commercial entertainment (television, commercial cinema, series,

positions that, in most cases , lose perspective of the set of synergies that represents the contemporary cultural reality. In any case, whatever the popular culture is it is considered hierar chically below the so-called "High Culture". Consequently, this culture of oral transmission, family and domestic, has been categorized within the sensual, animal and natural and, consequently, the femi nine. Therefore, it is very interesting to study what the various femi nisms have understood by popular culture. On the one hand, a certain type of feminist trend opts for a romantic notion of the popu lar, considered as a culture of traditional feminine skills, which has been overshadowed by the active-productive androcentric culture. However, this discourse based on ancestral roots unleashes a popu list nostalgia supported by the petty bourgeoisie, which leads to the fetishization and exoticization of this type of popular and feminine cultural productions.

Second, some feminisms consider the notion of popular culture as an inventory of things for women who are supposed to meet their needs. This argument leads to an intense binary brand of gender, which leads to the segregation of cultural areas stigmatized as ‘feminine commentaries, gossip magazines ...). Along with the above observa tions, Joanne Hollows builds on Stuart Hall's approaches to identify ing female popular culture as a powerful space for political resis tance. However, the idea of femininity is represented by several power relationships, which privilege the conception of middle-class white femininity over other feminities that are considered socially dangerous and are basically represented by racialized women and low-income white women.

03-04. MARKET ECONOMY AND COMMERCIAL CULTURE

With all of the above, if we return to the object of study that we propose, which is the interaction between neighborhood cultures and art that take place in those peripheral urban contexts in which centers of artistic production have been established, we can under stand how, what P. Bourdieu calls HETEROGENEOUS AESTHETICS is

Unfortunately, the peripheral resistance that J. Hollows glimpsed hopefully in the fundamentally feminine popular culture, becomes part of a complex multi-articulated machinery that establishes an

In this way, when a strong identity element of the popular classes becomes visible, the third vector of the neutralization of neighbor hood aesthetics is activated. We are talking about the mainstream media, intensely reinforced by recent social media, which establish a powerful axis of action among the televised world, which promotes a culture of collective narcissistic hedonism and the popular character as histrionic mockery; and the digital identities spread on the social media. In this way, the media encourage markets to greedily appro priate the emerging expressions of peripheral aesthetics, regurgitat ing the same cultural reality, but metabolized as a mercantile prod uct, of the commercial brand culture.

Consequently, what is produced for the popular classes, which is what they supposedly demand, are ‘mainstream’ substitutes synthe sized from creative manifestations, devaluing what could have con stituted a scenario of identity and resistance. This blocking process is accurately described by Dick Hebdige who, making mention of Volos inov, states that the deactivation process that takes place is semiotic in the sense that, when an aesthetic style is generalized, the mythol ogy of the sign loses its power because it ceases to represent a com munity and it becomes one more market trend, necessarily ephem eral, and accessible to anyone.

05-06. PERIPHERAL CULTURE AND ORIGINARY CULTURE

As a consequence of the depopulation of the center of European cities, of which the art world is complicit; the large concentrations of the suburbs, the so-called 'banlieuse' in France, are becoming spaces in which, what we could call PERIPHERAL CULTURE of workers settled during the decades of the 60s-70s of the 20th century, come into contact with ORIGINARY CULTURES from post-colonial migra

In turn, the so-called 'red belts' of European cities such as Paris and Madrid, have experienced recent waves of growth, generating satel lite urbanizations, which attract new generations who are looking for a way of life with a bourgeois aesthetic, in single-family homes with pool or private condos.

Consequently, the centers of these working-class municipalities become highly vulnerable areas in which a very old native working population coexists with immigrants and the low-income local popu lation, expelled from other parts of the city, where rents are impossi ble to assume.

This is the immediate habitat of the cultural organisms that, like the CA2M in Móstoles, settle in the old European banlieuses, and come into contact with a mixed cultural reality, in many cases, multiple marginalized.

07. SUB-CULTURE AND DIGITAL SUB-CULTURE

A consequence of the interaction described in the previous point, is the proliferation of numerous neighborhood subcultures in Europe

possibility of a common genetics of the working-class culture in Europe. With this, starting from D. Hebdige's theories regarding the postwar London subcultures outlined in contrast to Jamaican immi gration; it is an exciting task to reveal whether cultural interaction in the nowadays European suburbs is a consequence of the exchanges present in all social coexistence or if, on the contrary, they respond to a true and deep hybridization.

However, these new aesthetics are in no way comparable with other urban cultures of the past such as punks, for whom the occupation of public spaces was essential. Currently, we could speak of digital sub cultures, which would be those that, without having a large presence in the physical world, massively colonize the digital space through social media.

In conclusion, the scenario shared by the worlds of contemporary art in the periphery and its soci-ocultural contexts, promise fascinating horizons of creation.

BIBLIOGRAPHY

SYNERGIC EXCHANGES BETWEEN LEGITIMATE, POPULAR AND COMMERCIAL CULTURES WITH SUBCULTURES

in the polarization of the contemporary space Reggaeton

DEPOPULARIZATION OF THE CITY CENTER AND THE CRISIS OF SUBURBAN IDENTITY

MÓSTOLES

In this research, the aim is to intuit the guidelines that will determine the relationships between contemporary art and the social processes that convulse the polarized post-industrial European cities. Far from being obsolete or outdated, the discourse that connects what is con sidered to be High Culture with the popular classes, is today more current than ever. The cause of this is due to the fact that the creative spaces themselves are contained in ambitious operations of the so-called urban regeneration, focused on the productive activation of old popular neighborhoods in the center of the cities.

tants of a certain area of the city, and instead locate there an intense leisure and real estate speculation. In fact, it must be called, as the urban sociologist aligned with Lefebvre proposes, Jean Pierre Garnier; DEPOPULARIZATION.

Indeed, these urban operations involve the eviction of local inhabi greater purchasing power, that is planned to relocate in the area. Since this is usually unfeasible, these neighborhoods are gradually

These new settlers, as a result of the political concerns they usually have, are reassured by residing in what is euphemistically called Mul ticultural Neighborhoods ’. This is how these old popular areas are transformed into neo-Bohemian scenographies with a sonorous accompaniment of alternative art galleries, creative studios, vegan food stores, sustainable commerce and restaurant spaces, always set by the chord: healthy food, animal respect and recycling.

But the emptying of locals from the popular neighborhoods of the city center are not the result of spontaneous movements of the popu lation, but rather respond to complex operations initiated by the gov ernment, in which, once the economic potentialities of an area have

and cultural facilities, and carrying out ambitious operations to recover the public spaces, which are accompanied by a dizzying rise in rents and house prices.

Consequently, the area renews its identity. Progressively, numerous contemporary creative spaces, both public and private, are located in the area. In addition, with a new social panorama, tourism compa nies invest in the area. In this way, new hotels which are adapted to the new demands are created.

With the example of these transformations in the South of Madrid, we observe how, in addition to the political and economic agents that model the city, contemporary art assumes serious complicities in the process. In addition to the case of the city of Madrid, where the arts are leaving the center of gravity of the city, to establish supposed asymmetries of the south, which have even reached the metropolitan periphery, we propose to relate this case study, within an equivalent phenomena that have occurred in the European territory during the last decades.

However, the process of depopulation of cities does not stop in the neighborhoods of the urban center. As in the case of Madrid and Paris, it extends to the peripheral working-class residential areas.

Madrid, activate their own process of physical and symbolic depopu

lation. On the one hand, the new generations of inhabitants leave the centers erected in the demographic explosion of the seventies, and settle in urban areas that prioritize the semi-private space of the con dominiums or completely private of the single-family residences. It is about adopting a lifestyle that atomizes the popular classes, which are still popular but, seduced by the bourgeois aesthetic of the condo with a security guard at the entrance, they do not recognize them selves as a group with common concerns and stop building relational networks in public spaces. These satellite sub-suburbs are supported by a redundant system of large leisure and consumption centers that, for their part, continue to liquidate the neighborhood´s identity, destroying trade in proximity.

With these residential operations, the cultural identity of the working class on the southern outskirts of Madrid has become that of indebt ed citizens with a villa with a pool and several cars. In the same way, through a process of symbolic overhaul, all signs of collective identity of the popular class disappear, such as the owners' associations, unions, neighborhood cultural groups... and in their place appear university campuses and, as in the case that we are dealing with, new neighborhood centers of contemporary artistic production. In this way, these new cultural facilities arrive to the working-class suburbs built with basic quality housing, inhabited by a population of retired workers and new inhabitants, most of them racialized, marginalized and with few economic resources, who have been evicted from the city center.

PHASE 1 CONFLICTS BETWEEN THE DISCOURSES OF ART AND PERIPHERAL POPULAR NARRATIVES in the polarization of the contemporary space Reggaeton

located in the South of Madrid that concentrates almost a million inhabitants.

During the 70s, these new cities received a massive migration from southern Spanish regions. Subsequently, with the arrival of Latin American, African and crossbreeding scenarios.

In this context is Móstoles, a town where, in 2007, the regional government decid ed to locate the CA2M-CENTRO DE ARTE DOS DE MAYO museum with some 6000m2 of surface, to house an important collection of contemporary art. With a transversal spirit since its creation, it has become the headquarters of numerous cultural activities, with the intention of trespassing the conventional limits of the museum. This inclusive strategy means that the museum always has a project ed look abroad, belonging to an international cluster made up of eight cultural organizations implemented in various residential peripheries, mostly European.

The entities that make up this association together with CA2M are: OFFICE FOR ART, DESIGN AND THEORY (UTRECH-HOLANDA), CAC (BRETIGNY-FRANCE), LES LABORATOIRES D'AUBERVILLERS (PARIS-FRANCE), TENSKA KONSTHALL (STOCKHOLM-SWEDEN) ), THE SHOWROOM (LONDON-UNITED KINGDOM), THE ISRAELI CENTER FOR DIGITAL ART (HOLON-ISRAEL) and PARASITE MUSEUM FOR CONTEMPORARY ART (LJUBLJANA)

After visiting the CA2M space and its urban context, we found an evident contrast between the museum's semiotic message and the population

spectrum of Móstoles, which brings together some 300,000 low-income inhabi tants, whose original culture is far from museum's legitimized culture. Taking a unquestionable goodwill, it still maintains the compassionate gaze of a paternalistic cultural colonialism. CA2M does not carry out a two-way exchange between society and museum, but rather intends to popularize a purist aesthet

developing its own culture, for those who have been deprived of a cultural dignity. In that way, acts as an evangelizing mission that instinctively sets out to teach "how to look at art."

On the other hand, within the heterogeneous population of this municipality and as in the rest of the European periphery, powerful aesthetic and musical movements unify large areas of youth; around new fashional, technological and behavioral codes.

This is the case, for example, of the Spanish female TRAP artists phenomenon,

reggaeton and the urban rhythms brought by immigration.

In relation to the above, in 2010, the rumba style andalussian singer Canelita

could not be more illustrative: LAS GITANAS BAILAN REGGAETON (GYPSY GIRLS DANCE REGGAETON) This starting point comes from the narratives of my

personal experiences. In this way, after a decade away from Madrid, when I returned I found a city where the popular culture of miscegenation and the new urban feminisms is in direct contact with contemporary art. In conclusion, we borhood culture, which throws up one of the many questions that this research intends to resolve:

A group of gypsy women dancing reggaeton is a work of art?

At the end of the day, this group of empowered women dancing sensual Caribbean rhythms are the embodiment of a centuries-old narration of cultural titled 'Gypsies girls dance reggaeton', the gypsy diaspora from India to Europe

colonization of America and the reunion of the Latin, Gypsy and workers world in the Spanish working class peripheries. We are sure that this whole long story is not a masterpiece?

will be fascinating to highlight the synergies that are being established between African immigration, the culture of the French working class and the center of contemporary creation Les laboratoires d'Aubervilliers'. So we propose to analyze the current synergies between artistic creation and new marginalized identities.

KEYWORDS

#PERIPHERY

#MIGRATION

#IMMIGRATION # MÓSTOLES

# CA2M

#CLUSTER

# URBAN CONTEXT

#ORIGINAL CULTURE

#LEGITIMATED CULTURE

#MEDIATION

#CULTURAL COLONIALISM

# PURE AESTHETICS

#CULTURAL DIGNITY

#FEMALE TRAP

# MARGINALIZATION

#REGGAETON #FLAMENCO

# NEIGHBORHOOD CULTURE #EXCLUSION

One of Pierre Bourdieu's central ideas raises how the museum spaces carry out an action of discrimination, taking advantage of the feeling of cultural indignity that they provoke in the classes that do not handle the art code and, conse quently, self-exclude and deny their heterodox original culture, denominated with the diffuse term of Popular Culture.

that occur in the home space, and have necessarily feminine nature. This so-called women's culture, always symbolically displaced towards the rural and historically, women have been related. Consequently, it is generally considered that popular culture has an oral transmission, it is exclusively passive, consumptive and feminine, and as a conse

quence of the latter, it is shameful. At this stage, we carry out a detailed analysis through Cultural Studies, Gender Theory and, in general, from the prism of sociol ogy and philosophy.

#CULTURAL INDIGNITY

#CULTURAL STUDIES

#POPULAR CULTURE

#HETERODOX CULTURE

#TEKHNE TOU BIOU

#THE DEATH OF ART #VITALISM

Starting from the Socratic concept of tekhne tou biou or art of life, many theorists have reached conclusions similar to those of Zygmunt Bauman. This dematerializing the art that no longer needs visual works to exist. It is inevitable to recognize the vitalistic root of this theoretical construct. In fact it was Nietzsche himself who categorically defends life as an aesthetic manifestation. For his part, Michel Foucault invites us to perceive ourselves not only as works of art, but as political individuals capable of resisting through art itself. This combative power will be shared by authors such as Gilles Deleuze, who also

Following the main hypothesis, we have carried out an in-depth analysis of dispossessed classes come into contact with the institutions of the Legitimate Culture of the elites, they suffer various mechanisms of exclusion.

On the one hand, populist conservatism considers that the majority of society

places art in the sphere of the collective, minor and popular. Other authors such between art, work and production.

The idea of the annihilation of art, known from Hegel's philosophy to the neoda daists and situationists experiences, does not imply its physical disappearance, but its incorporation into the set of everyday existence. In this way, the French common emotion that leads us towards a social erotica, which trigges us to be

rejects contemporary art, which is why it is redirected towards commercial culture. On the other hand, the organisms of the transgressive academicism, either produce the immediate exclusion of the classes that do not handle the encrypted codes of art, or approach them from an asymmetric position.

Any aesthetic manifestation generated by society must be considered a work of art. In this way, it is necessary to awaken in the individual a creative consciousness, and an acknowledgment of his heterogeneous genuine culture, with the same dignity as the legitimate culture imposed by the elitized groups. In this way, all popular creation should become part of the institutional circuits of art.

Cultural institutions keep popular aesthetics away from legitimized circles, leaving them exposed to the action of the market and the media, which will absorb and neutralize any expression that represents a certain degree of 'social dangerousness', establishing a direct connectivity

#RESISTANCE IN ART #COLLECTIVE ART

# NEODADAISM

#SITUATIONISM

# AESTHETICS AS ETHICS

#CREATIVE CONSCIOUSNESS

#INDOCTRINATION

#WORLD OF ART

#COMMERCIAL CULTURE

#ACADEMICISM

# ART CODES

#CAPITALISM

#NEUTRALIZATION

#BRAND CULTURE

#DANGEROUSNESS

SOCIAL

# STIGMATIZATION

As a conclusion of the previous point, we can characterize the legitimized culture

social space of the urban. This culture occupies a centralized role and has an active and productive nature.

On the other hand, popular culture has historically been relegated to the family

The feminine aesthetics of neighborhood culture (for example,TRAP) have been reduced to an inactive mainstream fashion product before representing a real social danger, by empowering groups of women with a combative attitude of gang ‘microfascism’. These groups of 'ratchets' (Sexualized working-class women dressed in provoca-

tive and extravagant clothes from luxury brands), represent an identity stigmatized by race, gender, origin and social class, strongly marked by stereotypes of complex bestialization, derived from Spanish anti-gypsyism, which invariably appears before any marginalized social spectrum, be it or not of gypsy ethnicity.

#PRECARIATE

#CIVILIZED RATIONALISM

# ACTIVE-PRODUCTIVE

# FAMILIAR-DOMESTIC

# PASSIVE-CONSUMPTIVE

# FEMINIZATION

#MICROPHASCISM GANG

#POPULAR MUSIC

At the end of this research phase, the two hypotheses presented are collected.

Starting from here, an empirical test that allows confronting these questions is proposed. We propose that the cultural and social synergy that is activated with popular music through the theme 'Gypsy girls dance reggaeton', means that this phenomenon should be considered without a doubt as an artistic manifestation that, in some way, should share space with legitimized visual arts.

In connection with the theoretical development of this research, we have concluded that the genuine creative expression of the people is music and

dance, which is why we intend to organize in the CA2M Museum in Móstoles, a communicative event to generate a record, and use it as a source of ethno graphic analysis, mainly through social media, from obtaining extrapolable conclusions.

In collaboration with the museum and with feminist gypsy women's associa tions, we will propose that a group of 200 gypsy women dance reggaeton in the presence of the CA2M public, with a choreography that they themselves will

audiovisual piece that will be distributed later.

phase of the investigation by including empirical conclusions that help us to develop a methodology applicable to other European points of the research in Architectural Communication in the ETSAM that I am undertaking, before continuing my research in Laussane, in the event that my application was accepted.

# ANTI-HAPPENING

#COMMUNICATION

#ETHNOGRAPHY

#SOCIAL NETWORKS

# EMPIRICAL CONTRAST

#RATCHETS

#MAINSTREAM

in the polarization of the contemporary space Reggaeton

PHASE 2 CONFLICTS BETWEEN THE DISCOURSES OF ART AND PERIPHERAL POPULAR NARRATIVES

Having studied the particular case of a contemporary art museum located to analyze the cases of creative spaces belonging to the CA2M's international cluster. The intention is to detect concomitances between entities, which allow dissecting the relationships between the worlds of art and contempo rary society. The objective of this study is to determine the means that allow the architectural space not only to take into account its linguistic-structural meaning. This consideration of architecture, on the one hand, only analyzes the semiotic dimension capable of producing meaning. Thus, by visually identifying the 'MUSEUM' sign, we assume a semantic context that performs symbolic mediation that allows us to interpret the actions and behaviors that occur in this space. On the other hand, there is a discursive-interpretive positioning focused on determining the syntactic tools that build the rational sense (accesses, facilities, program, structure, circulation ...) We have just

spaces of the European peripheries are containers of art, but the social identi ties embodied in their context in a narrative way are also. In this sense, we try to determine the articulations between architectural semiotics, the discur sive performativity of art and the narrative identity printed by the action of inhabiting.

This set of creative spaces present very diverse natures, responding to both public and private efforts, and are located on European peripheries with urban and sociocultural fabrics with common features but, at the same time, great particularities in each case.The group has a certain willingness to create common synergies, so it has organized an international meeting in each of the centers and made a collective publication. However, the disparity

visibility, determination and relevance. We have established the following categories:

FIRST PERIPHERY

To this group belong THE SHOWROOM (LONDON), with a residential fabric with dispersed collective dwellings of different types and CASCO (UTRECHT),

SECOND PROFILE

This is the case of the TENSKA KONSTHALL (STOCKHOLM) corresponding to the functionalist suburbial paradigm of the Modern Movement.

METROPOLITAN PERIPHERY

Included in the large working class agglomerations in the metropolitan

context of scattered residential buildings. and SLE LABORATOIRES D'AUBER VILLIERS (PARIS), located in a residential-industrial mixed land uses.

KEYWORDS

#RESIDENTIAL

# EUROPEAN SCOPE #SYNERGIES

#CONCOMITANCIES

# PUBLIC-PRIVATE MANAGE MENT

#COHESION #VISIBILITY

#ART AND SOCIETY

#URBAN FABRIC #DENSITY

# TYPOLOGY-TOPOLOGY

# GENTRIFICATION

# TOURISTIFICATION

#COLECTIVE OF ARTISTS

# INDEPENDENT GALLERIES #POLITICS #MARKET

# SOCIAL FUNCTION OF ART #TECHNOLOGY

# DIGITAL SOCIETY

TENSKA KONSTHALL

To complete the previous study and verify if the CA2M´s cluster conclusions are objective, we have tried to detect other dynamics that include not only museums. In this sense, we are faced with a fragmented and scattered panorama, with a wide variety of scales. Thus, most of these agencies have a private association nature, which provides them particularly heterogeneous features. We have located numerous examples with different densities of relationships

others, a constellation of spaces self-managed by groups of artists and small independent galleries.

Subsequent to the previous approaches, we can elaborate previous hypothe ses in order to unify a strategy of approximation between Legitimate Culture and Neighborhood Culture. We propose that:

In correspondence with the hypotheses established in PHASE 1, if every aesthetic manifestation generated by society must be considered as a work of art, these original heterogeneous productions will depends on their social contexts and its relationship with the elitized culture.

THE SHOWROOM

LES LABORATOIRES D AUBERVILLERS

CAC BRETIGNY P.A.R.A.S.I.T.E.

As a previous conclusion, we continue to observe a clear sobering attitude exercised by the transgressive spaces of art, although the trend becomes softer as the size of organizations decreases.

tives intuited by the spaces of creation.

BIBLIOGRAPHY

-

CASCO

CONCEPT CONTROVERSIES

Narrative identities are aesthetic expressions materialized in the bodies that, mediated by the basis of their narratological context, build a collective erotica as a sensualist ethic of the image and the lived-told action.

Creative life stories intertwine their haphazard extra-linguistic realities in the architectural space,

With all of the above, the art of life as a process of identity construction, interacts with the discursive arts. In this way, it is possible to translate social

concept of culture that often manifest inequalities troversial background for this work, that contemporary creation, inscribed in a commercial aggressiveness, faces exceptional responsibilities given that today, more than ever, the consequences of its complicities in social tensions are not strictly aesthetics.

OBJECTIVES

The primary purpose of this work is to claim for sociology, urban planning and architecture, dynamics of an artistic nature.

We propose to transcend the materialism associ ated with the production of space and the arts, in defense of a creation that is not necessarily pro ductive, but expressed through a narrative perfor mation of the embodied identity, which rests on the semiotic habitat in which we communicate with the otherness.

METODOLOGY

The goal is to use a theoretical-practical analysis method that makes artistic action a means of ethnographic analysis, combined with regular sociological research tools.

In accordance with performativity and narrativity theo ries, we understand identities as creative narratives embodied in constant construction, deconstruction and destruction.

We consider that the hyper-identity polysemy that acts and behaves in space, must be contrasted from a hap pening dynamic, with the narratological and temporal semiotic structure that contains it.

doctoraladvances

Una vez finalizados mis estudios de Máster en Comunicación Arquitectónica MAca con calificación de sobresaliente , continúo en la actualidad con los estudios de doctorado dentro del mismo plan de Doctorado en Comunicación Arquitectónica o DOca .

El programa de Doctorado en Comunicación Arquitectónica o DOCA , es una iniciativa dentro de la oferta de la Universidad Politécnica de Madrid que nace al amparo interdepartamentales e interescuelas, que compartan campos de investigación específicos y comunes de Grupos de Investigación pertenecientes a distintos Departamentos.

El origen de los estudios de postgrado en Comunicación Arquitectónica responde a una demanda contemporánea, que proporciona un espacio específico de formación, estudio e en desarrollar trabajos vinculados a los fenómenos de transmisión, intervención y mediación ligados al proyecto arquitectónico , tanto desde una dimensión tecnológica de carácter experimental e innovador.

a

estadodelacuestión

ESTADO DE LA CUESTION

La arquitectura, paralelamente al consumo capitalista de lugar, va abandonando cadáveres urbanos no rentables, que pasan a despertar tan solo el interés de historiadores y sociólogos. De este modo, una vez que el de esa gramática de parámetros urbanísticos se olvida a cargo de los que la padecen.

Un ejemplo de lo anterior son los grandes polígonos residenciales obreros de la tecnocracia desarrollista que, una vez que los críticos del Movimiento Moderno se cansaron de vilipendiar, han pasado a ser invisibles. No obstante,

¿Acaso los mezquinos bloques abiertos de las periferias en los que viven millones de personas no fueron proyectados por arquitectos?

Como respuesta a lo anterior, decir que la negligencia esteta propia del intelectualismo que siempre planea sobre nuestra labor, debe sustituirse por una valentía profesional que asuma errores, y se implique en remediarlos desde la acción teórica y social de la arquitectura.

A propósito de lo anterior, recordar que la mayoría de los Poblados Dirigidos de aquella época fueron construidos con la colaboración de un voluntariado de estudiantes de arquitectura.

Por esto, hemos de escuchar las narraciones de vida de los que habitan el ciudad, cercados por circunvalaciones y nuevas oportunidades de negocio inmobiliario donde, el urbanismo, inhabilitado por la mercantilización de la construcción de la ciudad, es cómplice de la diseminación territorial de geografías de la injusticia

Este término, acuñado por las investigaciones de Edward W. Soja , denuncia la existencia de unidades discriminatorias de segregación urbana producidas por la sistematización de las desigualdades distributivas.

Al mismo tiempo, estos espacios desprovistos de inversión regeneradora corresponden con lo que la Escuela de Chicago bolsas de marginalización intersticial y frente a las que, hoy más que nunca, con una violación impune del derecho a la vivienda, es imprescindible reivindicar enérgicamente lo que Henri Lefebvre denominó Derecho a la Ciudad , esa potestad política adquirida al participar en la construcción de lo urbano como espacio de encuentro.

Por otra parte, regresando a las periferias residenciales que serán el ámbito espacial de mi tesis, sus pobladores, que antes se reconocían ‘clase Un grupo de estudiantes de arquitectura construyen la maqueta a escala real del futuro Poblado Dirigido frente a la asociación de vecinos de Orcasitas (Madrid).

media aspiracional’ , abandonando los bloques de vivienda colectiva de su infancia, para instalarse en urbanizaciones con piscina que priorizan el espacio privado de los interiores de manzana cerrada, dejando de tejer redes relacionales en el espacio público.

Este proceso es lo que Jean Pierre Garnier denomina ´despopularización de la clase trabajadora´ y que en el caso de los PAU españoles implica la ‘piscinificación de la periferia’ atomizando la convivencia vecinal en un sistema de grandes centros comerciales, que agravan la liquidación de la interacción barrial, acabando con el comercio de proximidad.

De esta manera, estas antiguas ‘banlieuseS’ a la española han puesto en marcha su particular programa de centrifugado social, con un crecimiento que ha dado lugar a sus propios (sub)suburbios, mientras que los conjuntos residenciales del desarrollismo son habitados por una población obrera local envejecida y comunidades marginalizadas y/o migrantes.

En este punto las consecuencias sociales de la despopularización de las los/as expulsados/as del centro urbano, que han ido poblando los centros obreros de estas ciudades dormitorio, en los que los alquileres de vivienda todavía son asequibles.

Este fenómeno ha tenido lugar ya que, lo que las guías turísticas denominan ‘Barrios Multiculturales’ seducen a nuevos pobladores que tranquilizan sus inquietudes ideológicas con un estilo de vida decorado con el pintoresquismo de lo que fueron las ‘zonas populares’ , que ellos mismos se han encargado de despopularizar. Todo un dispositivo de producción amable y baja huella de carbono, colonizado por la que J.P.Garnier denomina “pequeña burguesía intelectual”

En cualquier caso, este drenaje social es activado por estrategias impulsadas por el Estado y el sector privado, según las que, una vez que se han detectado nuevas potencialidades económicas en un determinado ámbito una serie de equipamientos, habitualmente culturales, y llevando a cabo interesadas operaciones de recuperación del espacio público. Como culminación del proceso anterior, con un paisaje social renovado, joven y atractivo, el sector turístico encuentra el momento para invertir, económico fundamental de la despopularización.

Pero de todo esto, lo más alarmante en términos socioculturales, es que los espacios del arte y la cultura hayan asumido activas complicidades

Dos niñas del barrio de Lavapiés (Madrid) leen una pintada que alerta de las consecuencias de la gentrificación 'hipster' del Sur de la ciudad.

en la polarización social de la ciudad, colaborando indirectamente con estrategias de especulación inmobiliaria.

social de mi investigación, en este punto se evidencia el conflicto estético de colonización cultural transversal a estos procesos de polarización social, que constituirá un trasfondo omnipresente de mi trabajo.

Esta controversia, analizada por Pierre Bourdieu

mundo de la cultura excluye socialmente, provocando un sentimiento de indignidad en las clases que no manejan sus códigos y que, en consecuencia, dan por hecho que sus expresiones estéticas son ajenas a lo que ha terminado asumiéndose como cultura.

En síntesis, las instituciones culturales mantienen las estéticas ordinarias alejadas, dejándolas expuestas a la acción del mercado, que cultura comercial de consumo .

Sin embargo, la deshabilitación de estas estéticas cotidianas es sencillamente una manifestación de violencia de clase que, en su momento minusvaloraba las preferencias del proletariado desde el elitismo del gusto y que, recientemente, ha adoptado la misma postura pero desde el elitismo de la crítica al consumo.

En consecuencia y, dejando momentáneamente de lado los aspectos espaciales de mi trabajo, expondré brevemente las realidades de esta cultura barrial periférica que han sido determinantes para mi tesis. Así, y lejos de exotizaciones, he de llamar la atención sobre el hecho de que que, dentro de su heterogénea población, hoy se extienden potentes movimientos juveniles cohesionados en torno a nuevos idearios sólidamente vinculados a la estética.

De este modo, recordando el marco de convivencia entre elementos identitarios de la clase trabajadora local y los aportados por sus nuevos habitantes procedentes de la inmigración, nos encontramos con un ejemplar intercambio cultural, protagonizado especialmente por los más jóvenes, marcado por los procesos de ’gitanización’ habituales en el extrarradio, según los cuales, rasgos estéticos y comportamentales que se consideran propiamente gitanos son asimilados ampliamente por el resto de la población.

Como ejemplo de lo anterior, es destacable el fenómeno del REGGAETÓN FLAMENCO o GYPSY FLOW que, asentado sobre esta base multicultural

'Top manta' en un mercado ambulante de Madrid en el que las creaciones heterogéneas populares se entremezclan con copias ilegales de los discos de artistas consagrados.

contacto con el mundo del reggaetón y los ritmos urbanos latinos.

De esta forma, el hecho que despierta mi curiosidad como investigador es la grabación en 2010 de un disco eco de mercadillos, ferias y gasolineras, en el que Canelita , un joven gitano de Cádiz, graba una rumba en la que testimonia con su título que ‘Las gitanas bailan reggaetón’ .

Entonces se desata la pregunta que da lugar a esta tesis:

¿Qué está ocurriendo en las periferias españolas para que las comunidades gitana y latina construyan un espacio de vecindad basado en la música?

social de la ciudad alimentada por el capitalismo avanzado, surge otra cuestión, ¿Este tipo de producciones musicales solo pueden ser ‘BajaCultura’

élites, se debe exclusivamente a un marcaje estereotipado ya que, gracias al sucinto análisis del proceso de germinación del tema rumbero que da título a esta investigación, solo es posible considerarlas como una creación con un valor sociocultural incuestionable.

En consecuencia, para que un joven gitano escriba esta canción y le dé ritmo de reggaetón, fue necesario que las comunidades gitanas atravesasen Asia y Europa hasta llegar a España en el siglo XV, después de 400 años de periplo.

Hizo falta que las escalas tonales frigias, sefardita e hispanomusulmana, que les recibieron, junto a las tonadas y romances castellanos, se hibridasen con los ritmos tribales africanos que los esclavos negros hacían sonar en los puertos andaluces.

Fue imprescindible, además, que la mezcla resultante de este crisol

desfavorecidos/as como vía de expresión del sufrimiento.

Pero, para mayor complejidad, los/as españoles/as tuvieron que llegar a América y traer en sus naves una sonoridad y unos ritmos que terminarían hibridándose con las músicas gitanas.

Así nació la rumba flamenca , ––entre sus variantes la rumba catalana procedente de la rumba americana , que eran los cantares propios de

forma de reggaetón ––originado en Puerto Rico tras la toma de contacto

En la imagen se muestra un detalle del grupo de mujeres gitanas que protagonizó el video musical del tema 'Rakatá', autoría del joven gitano de Caño Roto (Madrid) Original Elías, que se podría definir como una de las piezas clave de este enmarañamiento de redes sociales, mestizajes musicales y periferias poscoloniales, dentro del cual, mi tesis trata de encontrar una narrativa sociomusical, que revele las consecuencias de estudiar la espacialidad sonora de la ciudad.

El video se grabó en Pan Bendito (Carabanchel) pues, en este movimiento, dada la escasez de medios y, de algún modo, la reivindicación del simbolismo popular de la calle, la mayoría de clips emplean el medio urbano como escenario predilecto.

inmediatamente como una manifestación de sensualidad que encaja con su espíritu de celebración.

Por lo tanto, han sido necesarios once siglos de trasiegos, mestizajes, rumbita sea despreciada como ‘baja cultura’.

un disco del ‘top manta’ de un mercadillo, el título de este trabajo solo podía ser:

Las Gitanas Bailan Reggaetón

En esta fotografía, aparecen dos jovencísimas artistas gitanas, cuyas voces genuinamente flamencas, se han fundido con los ritmos latinos de la bachata y el reggaetón, dando lugar al Gypsy Flow producido en la ciudad de Sevilla.

Ambas proceden de familias humildes realojadas en el Polígono Sur hispalense y sus miradas, todavía cargadas de cierta timidez e ingenuidad, revela cuestiones de género de gran trascendencia. En este aspecto, hace algunos años el mundo de las chicas reggaetoneras que se reivindican como mujeres explosivas que expresan libremente sus deseos sexuales, abrió una compleja polémica pues, dentro de esta hipersexualización voluntaria, ¿sigue presente la cosificación patriarcal de sus cuerpos?

definicióndelcasodeestudio

DEFINICION DEL CASO DE ESTUDIO

Dado el carácter marcadamente empírico de mi investigación, decidí continuar buscando evidencias de este fenómeno sociomusical en las redes sociales frecuentadas por los más jóvenes, lo que me condujo a artistas como La Cebolla, Manuel Popeye, Nynno Vargas, La Puri, El Popo, Samueliyo Baby, La Negra, Omar Montes, Moncho Chavea, Original Elias, C de Cama … y un elenco inasible de creadores/as jovencísimos/as –en su mayoría gitanos/as– que, armados de un programa de grabación y muchísimo talento, ven desbordarse a diario sus cuentas de Youtube y que, artistas consolidados como La Mala Rodriguez, C Tangana, Haze o Rosalía les hagan guiños en Tik Tok, y se derritan por participar en alguno de sus remixes.

Ya no había vuelta atrás, había sigo engullido por el reggaetón flamenco Así pues, asumido el reto y los vertiginosos peligros de ‘Las Gitanas Bailan Reggaetón’, llegué al fascinante descubrimiento que ha dado lugar a uno de los tres casos de estudio de mi doctorado, cuando artistas como los/las mencionados/as, me llevaron a su productor Negro Jari –Mamadou Mbacke Seck Diouf–, joven sevillano de ascendencia senegalesa que, tras un pasado delictivo, encuentra su reinserción emocional fundando Dagrama Producciones que, desde el espacio de las 3000 viviendas de Sevilla , promociona el talento de jóvenes artistas gitanos y gitanas. as y latinos/as desde una de las periferias marginalizadas más degradadas desde una abierta perspectiva poscolonial y migratoria y, por supuesto, espacio urbano contemporáneo y su sonoridad.

humano a través del territorio ibérico, cuyas huellas espaciales y temporales, solo posibles gracias a la negociación entre grupos que sortean sus diferencias, están determinadas por los ritmos compartidos por todas las cosas, plantea serias controversias de género, que no serán eludidas por este trabajo.

Negro Jari con una de las nuevas promesas musicales de Dagrama Producciones en las 3000 Viviendas de Sevilla.

rastreomusicaldelespaciourbano

MUSICAL DEL ESPACIO URBANO

el Sur ya que Las 3000 Viviendas de Sevilla se habían revelado como el desde principios del siglo XX hasta la actualidad, localizando artistas y habían contextualizado.

Con esto, el resultado de delimitar un ámbito geográfico por medio de una historiografía musical de lo ‘kinki’ no pudo ser más revelador ya que los nombres de Los Chichos, Las Grecas, Ketama, Camela, Pata Negra, Peret, Antonio Molina, Estopa o Azúcar Moreno vectorial migratorio atravesado por grandes movimientos poblacionales de trabajadores/as y migrantes, que articulaba una red circulatoria con una arteria principal cruzando la Penísula Ibérica en diagonal, pasando por Sevilla, Madrid y Barcelona

Pero, al mismo tiempo, como apuntaba al presentar el título de mi tesis, los un segundo encuadre geofísico constituido por desplazamientos sociales históricos, como la huida de la etnia gitana de la India, la expulsión de Occidentales’, con paso obligado de los barcos ‘negreros’ por los puertos del Estrecho de Gibraltar. Además, llevando de nuevo el campo visual de mi investigación a la contemporaneidad, hasta abarcar los fenómenos sociales poscoloniales en la música marginalizada, se añadía una dimensión transcontinental que contextualizaba la problemática abierta en un marco de desplazamientos aún mayor, en el que se sumaban fenómenos migratorios actuales y Como conclusión de todo lo anterior, mi ámbito de trabajo está conformado por un territorio circulatorio de dos jerarquías y diferentes capilaridades, ya que han sido estudiados comprendiendo períodos

Portada del primer disco del grupo 'Los Chichos', habitantes de los asentamientos autoconstruidos y chabolistas de Vallecas, que marcaron el precedente estilístico de la rumba callejera urbana de los años ochenta.

La aparición de estos grupos, ampliamente seguidos por la juventud obrera descendiente en su mayoría de las familias migradas desde el ámbito rural del sur del país, supusieron la evolución particular hacia la urbanidad que, de manera propia y particular, desarrollaron emigrantes y gitanos/as en los extrarradios de las grandes ciudades españolas.

o movimientos humanos transcontinentales que recorren siglos de poscoloniales han actualizado.

El primer orden de estos territorios del movimiento generó el crecimiento urbano que dio lugar a polígonos como las 3000 viviendas de Sevilla.

Por su parte, el segundo, de escala transcontinental, es el responsable de activar un proceso secular de intercambio sociocultural que ha dado encontrado con la llegada de la inmigración poscolonial.

Esta confluencia rítmica entre el flamenco y el reggaeton en las periferias españolas es lo que me ha empujado a analizar la capacidad de la música como estrategia de mediación social para generar aproximaciones transétnicas en el espacio urbano.

Espectacular proceso constructivo del Pozo del tío Raimundo en el que, gracias a la acción vecinal, la población no fue deslocalizada, e iba siendo realojada a medida que se ejecutaban las nuevas viviendas.

Este paisaje urbano es el agitador creativo de la llamada 'Rumba Vallekana' que representaron grupos, fundamentalmente masculinos, de gitanos rumberos como los famosos 'Chichos', 'Chunguitos' o los 'Calis'.

El barrio fue devastado, al igual que toda la periferia sur madrileña, por la crisis del SIDA y la heroína, durante los años 80.

hipótesisprincipales

Así, los polígonos residenciales obreros fueron diseñados según un urbanismo punitivo que materializa el diagrama de poder del campamento militar, en los que los desplazados fueron condenados a integrarse en recintos segregados de la ciudad normativa.

heterotopías panópticas residenciales implantadas para distribuir cuerpos en el espacio desconectando los unos de los otros, anulando así su energía de acción social.

Por consiguiente, el efecto colectivo de individualidades que se funden estableciendo lugares de intercambio es sustituido por una ordenación de individualidades dispersas. De esta manera, el poder ‘sin otro instrumento físico que una arquitectura y una geometría, actúa directamente sobre los individuos’.

donde la identidad se fragmenta en múltiples atributos rebasándose las afectaciones de etnicidad y estableciéndose sólidos consensos que reactivan los vínculos de la comunidad por medio de la utilización cotidiana del espacio.

En efecto, los ritmos de la vida social evidencian proximidades socio-espaciales que cohesionan el grupo, a lo que se suma la temporalidad biográfica-residencial reconstruida a partir de los episodios vividos en los espacios del habitar, consolidando un espacio-memoria común.

De esta forma, en los espacios del movimiento humano, el ritmo social grupos migrantes. En este sentido y, lanzando una de las hipótesis de mi trabajo, cuando el tiempo interno de una sociedad es afín al de otra, se favorecen proximidades socioespaciales afectivas pues esta rítmica equivale a la que narra su intrahistoria a través del relato musical.

la ciudad institucionalizada surge como reacción política al nomadismo. extensión, antagónicas del modelo de socialidad de los ciudadanos en tránsito.

Por el contrario, la regeneración de lo urbano como espacio de convergencia

la ciudad. De hecho, al respecto de la hostilidad frente al nomadismo y las migraciones, Manuel Delgado desde su texto ‘El Animal Público’ , insinúa el derecho democrático espacial de movimiento y migración. Es por esto que, un concepto capital para mi trabajo es lo que Alain Tarrius Territorios Circulatorios recorridos por obreros/as, nómadas y migrantes, en los que la socialización se produce según lógicas de movimiento. Las periferias obreras del desarrollismo serán estudiadas desde esta perspectiva.

En estos lugares móviles, se produce un reconocimiento de la alteridad

Si ilustramos lo anterior con mi caso de estudio, encontramos que el ritmo latinas como el reggaetón, es métricamente el mismo. que la música es un fenómeno social que depende del contexto en el temporalidad social compatible que les ha permitido reconocerse en el espacio social de la ciudad poscolonial.

En resumen, la territorialización social proyecta un tiempo sobre el espacio que determina un ritmo. Es por ello que Henri Lefebrvre, considerando que que ‘La ciudad se escucha como si fuera música’ . Es por esto que la música, en tanto que territorialización afectiva de lo social, está profundamente encarnada en el espacio urbano.

Sin embargo, la potencia social de la música no se limita a poner en contacto tiempos sociales, sino que funciona como narración colectiva. En este

En contraste con la noción de territorio en tránsito, el planeamiento

Michel Foucault ,

‘La disciplina es un procedimiento de antinomadismo’

sentido, de acuerdo con la Teoría de la Narratividad de Paul Ricoeur que plantea que la identidad es de naturaleza narrativa , añadiría que una de sus expresiones más trascendentes es la que se produce por medio del lenguaje de los cuerpos en movimiento y de la música. De este modo, estas narrativas musicales de vida transmiten a la comunidad las emociones provocadas por el espacio urbano pasando a formar parte de una memoria afectiva común Recíprocamente, la arquitectura y el espacio urbano se cargan de

nuestras biografías. De acuerdo con esto, pretendo aproximarme a una ‘narratividad arquitectónica’ desde el prisma afectivo de la musicalización socioespacial.

proyección de su afectividad sobre el territorio, ya que el sonido es una potente vía de territorialización de los sentimientos. Con esto, la ‘lugarización musical del espacio’ realiza una lectura sensible de la realidad urbana que, en términos de Michel Maffesoli , permite articular las relaciones sociales por medio de una ética de la estética compartida.

Finalmente, por medio de estas vivencias, se potencia la creatividad de los individuos reactivando el sentido de la festividad a través de lo que ‘el arte de vivir la ciudad lúdicamente’

Este giro emocional exige una aproximación al paisaje urbano desde la perspectiva de una Teoría Socioespacial de los Afectos , para lo que estudian la experiencia polisensorial del espacio.

Para concluir, pocas manifestaciones sociales compartidas tienen mayor poder socializador y por lo tanto, de marcación emocional del espacio, que la música en grupo, dado que plantea una elevación de los afectos y los actos de comunicación por medio de su movimiento en el espacio. Este es el mecanismo afectivo por medio del cual los ciudadanos en memorias del grupo.

Tarde de verano en las 3000 Viviendas de Sevilla.

Retomando la provocación del título de mi tesis, es indudable que, el hecho de que las gitanas bailen reggaetón, es decir, se vuelvan locas 'perreando' , no deja indiferente a ninguna mirada atenta que conozca y estime, como es mi caso, la cultura gitana. Así lo hacía notar el Canelita en su letra en 2010, cuando ya el fenómeno reggaetonero estaba más que aceptado por la comunidad romaní y el conjunto de la población española en general.

Pero a este hecho que, en realidad, es una especie de aviso musical de lo que en todas sus características estéticas; se une que, aproximadamente desde 2017, empieza a darse el hecho fascinante de que los/as gitanos/as ya anteriormente el caso de las 3000 Viviendas de Sevilla, como uno de los centros de este movimiento musical. En este movimiento, sin entrar en discutir si ‘Rosalía’ es una apropiacionista cultural mercantilizada o si es en los barrios gitanos periféricos donde se gesta esta estética, lo cierto es que, implica una serie de hechos de suma importancia:

-La mujer gitana participa de un baile hipersexualizado.

-Se produce una hibridación de estéticas gitanas y ‘latinas’.

-Acercamiento en las periferias poscoloniales de comunidades subalternas (gitanos/as y migrantes), por medio de la música.

-La comunidad gitana acepta apasionadamente la mezcla del flamenco con otra sonoridad ajena.

novedad, este nunca había sido seguido masivamente por la comunidad gitana y, casi siempre, había sido un fenómeno de blanqueamiento del Ketama , es un buen ejemplo de ello.

Retomando los aspectos urbanísticos y espaciales de mi trabajo, construyo un relato poscolonial, indagando en los fenómenos urbanos que

El fenómeno 'Rosalía' es consecuencia del trabajo final de los estudios flamencos que la cantante realiza en la ESMUC (Barcelona). En esta tesis, ya plantea la hibridación entre el flamenco 'puro' que había estudiado minuciosamente y las músicas urbanas, característica de su trabajo. Ahora bien, si comparamos el 'producto' perfectamente definido en el que se ha convertido Rosalía, con la espontaneidad del gypsy flow surgido en los barrios, nace la polémica en torno al apropiacionismo cultural, ya que la cantante no pertenece a ninguna de las comunidades de las que absorbe su estética.

periferias españolas. Efectivamente, eso que denominados de modo difuso la periferia , a mi entender son los nodos sedentarios de una red de territorios circulatorios atravesados por migraciones, colonialismos y errancias, que abren un marco histórico y espacial de investigación dilatado en todas su dimensiones y, al mismo tiempo, absolutamente fascinante.

Esta geografía del movimiento , en la que sin duda está implicada

P.Gilroy denomina 'Atlántico Negro' , ese territorio mestizo que no es ni americano, ni europeo, ni africano; y que viene marcado por una noción ritmológica del cuerpo de origen africano, que se apoya en el compás binario 2/4; el compás que dio lugar a la rumba afrocaribeña y tras ella, a un sinfín de sonidos híbridos entre los cuales, sin olvidar salsa, guaguancó, cumbia, samba, son..., se encuentra en el reggaetón y, por su puesto, en urbanas poscoloniales con los ritmos americanos, han dado lugar al preguntas que irán animando la tesis:

¿Las vecindades poscoloniales que han dado lugar a esta nueva estética son consecuencia de compartir un ritmo musical y, al mismo tiempo, social y corporal?

¿Este mestizaje musical necesariamente tiene un equivalente social en el espacio físico urbano?

¿Se trata solo de un movimiento de generación de músicas globales por medio de las redes digitales?

La apropiación del espacio público por medio de la celebración y, por tanto, de lo músico-danzario, que tenemos tan asociada a las culturas mediterráneas, resulta ser un elemento igualmente característico de la urbanidad caribeña. De este modo, la 'carnavalización' de las plazas públicas, como toma de poder simbólica de la que nos habla M. Bajtín, se da igualmente en la llamada 'rumba de solar' cubana, que según ciertos investigadores, se encontraría en el origen de la música caribeña; es decir, la toma de solares vacíos de La Habana, para dedicarlos al baile de la rumba, el son, el guaguancó...

En la actualidad, estas manifestaciones de musicalización de lo urbano siguen siendo características, en especial de comunidades racializadas o estigmatizadas de algún modo.

Dejando de lado la respuesta a estos interrogantes que conformorá el cuerpo de mi investigación, mencionar que desde el punto de vista metodológico y epistemológico, mi trabajo se apoya en la antropología sensorial que podemos encuadrar dentro de los Estudios Sensoriales , dentro de los cuales serían especialmente relevantes para mi trabajo, los Estudios Sónicos (Samuel Llano) y Ritmológicos (Pascal Michon).

Me encuentro pues, ubicado en un ámbito de estudio que trata de analizar la urbanidad desde una perspectiva gitana, rítmica y sonora, lanzando la provocación de explorar las posibilidades de una 'ciudad gitana' o una 'gitanización de la ciudad’

.

Aquí, la noción de ‘higiene aural’ , impuesta en las ciudades por las élites socioculturales es de importancia estructural pues, la ciudad socialmente normalizada, ha silenciado progresivamente sus calles, barriendo de ellas a los personajes subalternos que musicalizan o, mejor dicho, musicalizaban el espacio.

En este sentido, dadas las etapas nomádicas de la comunidad romaní, me apasiona el estudio de lo que los/as gitanos/as españoles/as han aportado, espacial de nuestras ciudades; y no solo considerar la comunidad gitana como un 'grupo molesto' al que realojar y absorber como objetos, sino entender a esta población, como sujetos y escuchar lo que tienen que decir sobre la ocupación (musicalizada) del espacio público en la ciudad.

Para mí, la ciudad gitana reclama la resignificación del espacio público por medio de la presencia musicalizada de los cuerpos que, generando así un espacio sonoro y rítmico, exigen su derecho a la funcionalista, en lugares permeados por una afectividad compartida, por una experiencia común que hace que un parque, una plazuela, cualquier esquina… en las 3000 Viviendas de Sevilla, en Pan Bendito, en Caño Roto, en Vallecas, en Nou Barris…, se convierta en un espacio sónicopolítico

Este desafío de la ciudad gitanizada, es unatraslación del concepto de cronotopo carnavalizado de Mihail Bajtín , en la que la música espontánea

Por medio de mi tesis, pretendo llevar a ca bo una pequeña aportación en pro de las estrategias de remediaci ón que, este país, parace considerar innecesarias, a propósito de la segregación, persecución e, incluso, planes estatales de exterminio de la comunidad gitana.

La imagen del corrillo flamenco en una plaza, de dos 'gitanitos' con su guitarra en las calles de la periferia, sigue siendo, por desgracia cada vez menos, un elemento de significación sónica del espacio común que, encontramos en otros ejemplos internacionales como el carnaval antillano,z que toma musicalmente las calles del barrio londinense de Notting Hill.

De algún modo, los cuerpos reggaetoneros podrían entenderse como genitalizados… y, en consecuencia, peligrosos socialmente.

Saltando del ámbito gitano de mi tesis al mundo de los/as migrantes americanos, si analizamos la investigación realizada en 2006 por el antropólogo catalán Carles Feixa a propósito de los/as jóvenes latinos/ as en Barcelona y el fenómeno de las bandas (‘Ñetas’, ‘Latin King’…); nos topamos con otra comunidad que entiende ‘la calle’ como un espacio de socialización intensiva y, por medio de sus altavoces portátiles y sus smartphones conectados a Spotify, musicalizan el espacio del barrio de canchas de baloncesto, parques, aparcamientos…

consecuente acercamiento de comunidades tal cercanas y distantes simultáneamente? Regresamos de nuevo aquí a las dudas que plantea mi tesis y que formulaba anteriormente.

del contacto entre las comunidades latina y gitana en las periferias poscoloniales españolas, al analizar los datos de los espacios urbanos en el caso andaluz de las 3000 Viviendas), el porcentaje de población sudamericana apenas llega al 3%.

Aquí surge mi sorpresa y alarma,

En la imagen se aprecia el interior de una prisión ecuatoriana donde la mayoría de reclusos pertenecen a las maras o bandas latinas que Carles Feixa estudia, llegando a la conclusión, de que la supuesta amenaza que estas representaron en las ciudades españolas,z no fue sino producto del pánico moral.

¿Si el reggaetón flamenco no es sintomático de una interacción en el espacio físico urbano entre gitanos/as y sudamericanos/as, dónde se genera este mestizaje sociomusical?

Evidentemente, dadas las condiciones tecnológicas contemporáneas, gran parte de todo esto se podría explicar por la cultura global que se viene produciendo en un plano digital desde hace ya décadas. De esta manera, tratando de dar respuesta a esta pregunta, decido desplazar mi foco de investigación al segundo centro de generación del

En particular, los barrios de Pan Bendito y Caño Roto ubicados entre los distritos de Latina y Carabanchel son los espacios urbanos que, en la capital, han dado artistas ya ampliamente reconocidos del género. En estos espacios, la estadística ofrece datos más esperanzadores dado que Carabanchel en Madrid, se concentra el porcentaje mayor de americanos/ as de la ciudad, y la comunidad gitana alcanza, en zonas como Pan Bendito, porcentajes de hasta un 40% de sus habitantes.

Pero es en este momento de euforia del investigador, al haber encontrado en el espacio público periférico, que me encuentro con un giro inesperado anteriormente, atravesado por el ritmo binario africanizado de la música como uno de los enclaves más representativos de la ciudad, se une un factor con el que no contaba: se encuentra ampliamente permeado por la espiritualidad pentecostalista; espiritualidad compartida por la mayoría de gitanos/as y migrantes latinos/as habitantes del barrio. Por lo tanto, nuevas y apasionantes posibilidades se abren,

El crecimiento de la fe evangélica, en especial si se compara con el abandono masivo de feligreses/as católicos/as de sus espacios de culto, pone de manifiesto un interesante efecto 'antiurbano', vivido por estas comunidades. Por ello, se ve en la calle un espacio de pecado del que hay que protegerse de modo comunitario en el seno de estos grupos religioso-sectantes.

Es significativo en la imagen, observar, hecho esencial para este trabajo, cómo los altares han sido sustituidos por bandas de música ya que, el carácter extático al que conduce la música espiritual en grupo es esencial para cubrir la necesidad de sentir corporalmente lo divino, de estas creencias, no sé si por mucho tiempo, minoritarias.

¿Tiene algo que ver con la generación del reggaetón flamenco el hecho de que estas comunidades sean, en su mayoría, evangélicas?

¿La conexión vendría de la ritualización de lo musical par el éxtasis corporal practicado en estas iglesias?

¿Gitanos/as y latinos/as pentecostalistas se reconocen como ‘hermanos’ de fe?

Efectivamente, indagando en la prensa musical digital, descubro que hay una relación inédita entre el reggaetón puertorriqueño y la Iglesia Evangélica. De hecho, la mayoría de los considerados creadores del género como El General, Vico C, Daddy Yankee, Farruko, Don Omar, el Father … son actualmente pastores o están muy vinculados a la iglesia.

denomino 'Gitanos de Mediaset' por su paso por Supervivientes, Gypsy Kings y numerosos platós de Tele 5, procedentes del barrio de Carabanchel que serían Original Elías, Moncho Chavea y Omar Montes inician su andadura reggaetonera tras pasar por el coro de la iglesia de Raúl García Losada, pastor evangélico gitano y padre del primero de estos artistas, cuando este pastor gitano trae a su hijo como regalo un disco de ‘reggaetón cristiano’, que le obsequian en un encuentro de pastores envangélicos en Puerto Rico. Podría tratarse de algo anecdótico o de la revelación de que el pentecostalismo,

lo que Manuel Delgado denomina “espiritualidad de frontera” , está en la base creacional de las músicas urbanas contemporáneas pues, la mayoría de ellas, llevan implícito el carácter migratorio que las iglesias protestantes creadas en Norte América en el

Una curiosa articulación que presenta mi investigación, relacionada de hecho, con el ámbito espiritual evanélico, es la implicación del medio televisivo.

De esta manera, el paso de figuras de gran popularidad dentro del mundo gypsy flow madrileño por programas de formato reality show como Original Elias –en la imagen–, Moncho Chavea, Nynno Vargas u Omar Montes; por diversos motivos y, en conjunción con el mundo de las redes sociales, han permitido a estos artistas, alcanzar cotas de popularidad que les han sacado del estrato underground en el que se encuentran otros/as creadores/as dentro del estilo, y que no están tan vinculados a los espacios comunicativos del grupo Mediaset.

¿Cómo ven, desde el punto de vista religioso y moral, los pastores evangélicos que 'Las Gitanas Bailen Reggaetón?

¿Es la iglesia el lugar de purificación de los/as reggaetoneros/as, el refugio comunitario en el que resguardarse de la calle, territorio siempre hostil?

¿Es el carácter migratorio del reggaetón lo que hace el pentecostalismo sea esencial para este movimiento?

Obviamente, aquí se abre un terreno que merece en sí una investigación posdoctoral pero, parece evidente que la ritualización de la música –por motivos religiosos para generar comunidades cerradas de cuidados muy próxima a lo corporal, lo ‘africanizado’ podríamos decir con mucha prudencia.

fundamentalmente de NY, se ha convertido en uno de los sonidos contemporáneas de todo el mundo. de 'performar' la música en la calle, por medio de competiciones entre de los coches que cruzaban el barrio, se convirtió en una de las imágenes más asociadas globalmente a lo urbano trascendiendo el territorio estadounidense.

urbana bien sea entre la juventud de Dakar, Nueva Delhi o París y, por supuesto, en Miami y Puerto Rico, consecuencia directa de las migraciones los ritmos caribeños de la rumba, las cadencias jamaicanas del reggae rastafari pero, con la misma intensidad, la cultura del remix genuinamente hiphopera.

contacto a la juventud gitana, tradicionalmente desconectada del resto de movimientos musicales que ha arrastrado millones de jóvenes durante generaciones, con una cultura juvenil global.

este estilo, generado con la toma de contacto entre negros/as y migrantes caribeños/as, caracterizado por rítmicas, sobre todo binarias, muy marcadas y la musicalidad prosódica de las propias palabras al ser pronunciadas y rimadas; podría estar dándonos nuevas claves para plantearnos nuevas preguntas.

Es bien conocido y motivo de estereotipajes, que la estética gitana es definida por la cultura normalizada como un mundo histriónico y vulgar. Sin embargo, no es tan evidente determinar donde el exceso se aproxima al 'mal gusto'. Solo es necesario recordar los frescos de la Capilla Sixtina. Por el contrario, lo interesante de esta imagen de una tumba gitana es la sustitución del simbolismo por un hiperrealismo casi de parque temático, por medio del que se representan todas las características que definieron al difunto. Podríamos hablar de una espiritualidad sensorial, que requiere de la experiencia de las sensaciones, musicales en el culto y visuales en sus monumentos funerarios, para conectar con lo extraterrenal.

¿Por qué el culto gitano ha aceptado el sonido del 'perreo' siendo perfectamente calificable de lascivo?

la musicalización del espacio urbano de las periferias, que se produce de modo muy similar en las banlieuses parisinas y en los extrarradios españoles; me ha conducido al tercer escenario de investigación.

La Florida en L'Hospitalet del Llobregat , Barcelona (Catalunya), en el que el joven de origen marroquí Morad , introduce nuevos elementos musicales muy un símbolo del modo en el que un músico puede convertirse en el líder incuestionable de todo un barrio, ya no por medio de la delincuencia, sino

De este modo, el escenario barcelonés del fenómeno de las bandas

Barcelona que, si se analiza desde el punto de vista de las migraciones internas, ha sido un vector de trascendencia indudable.

Y es en el epicentro de un agitado huracán en el que encontramos elementos poscoloniales, de género, espiritualidad liminal contemporánea..., un fenómeno urbano periférico que me ha conducido a plantear un análisis del espacio urbano desde la perspectiva multisensorial de lo que podríamos denominar Urbanismo Sónico ; un modo de observar la intangible, pero audible, que forma parte de un recubrimiento sónico que jamás se detiene ni se ausenta de la arquitectura.

En pocas ocasiones de mi trayectoria profesional me he hallado ante un reto de una poética tan seductora: entender la musicalidad urbana como social de la ciudad, de la que participa activamente la arquitectura.

En la imagen, el intérprete de música urbana Morad, posa en su barrio, los Bloques de la Florida, al que hace referencia en numerosas entrevistas y publicaciones en medios digitales, casi como el centro neurálgico de su acción político-cultural; nodo del que casi podríamos considerarlo como un patriarca absoluto. Morad, que podemos ver en la fotografía con el código estético propio de estos jóvenes de periferia –ropa deportiva Nike-Adidas o de marcas de lujo como Louis Vuitton, Gucci, Prada...–, introduce en este territorio sociomusical a explorar, una componente magrebí, que solo se da, por el momento, en Barcelona. Desde sus letras, el cantante lleva a cabo la misma estrategia antipolicial de otros raperos nacionales o franceses, a menudo implicados en problemas legales de gran controversia en tanto suponen una amenaza a la libertad de expresión.z,t

¿Podría estar presente en esta ’toma musical de las calles’ la figura del trovador o el ciego y sus romances, que por medio de la poesía ritmada empoderaba simbólicamente a las clases populares concentradas en las plazas públicas?

herramientasdeinvestigación

INVESTIGACION

"Todo conocimiento es un autoconocimiento"

BOAVENTURA DE SOUSA SANTOS

Por medio de la siguientes fotografías reunidas gracias a la colaboración de toda mi tesis. De este modo, si mi trabajo explora las relaciones sociomusicales de las periferias cios son absolutamente determinantes. desplazamiento de un escenario de vida a otro radicalmente diferente. Así, el desarrollo de nuestra existencia entre las calles de una determinada trama urbana y otra estructura completamente ajena, ha de tener necesariamente unas implicaciones espacio-emocio nales estructurales. Con esto, si reproducimos rasgos emocionales y comportamentales,

LA PRIMA VALÉRIE

Mi prima segunda Valérie, de la que jamás he vuelto a saber, es uno de los personajes más inspiradores de esta historia. Al igual que en casi todas las familias obreras del sur, en mi familia existieron unos “tíos de Francia”.

Mi tío Juan Pedro, que luchó en el bando republicano, huyó a Perpignan, donde su hijo, con el mismo nombre, conoció a Marie Rose y tuviero a mi prima la francesa.

Hasta los diez años aproximadamente, cada verano me reencontraba en el pueblo con Valérie que, como detalle, no hablaba ni una palabra de español así que, gracias a este contacto, tuve cono cimiento, por primera vez, de la idea de no-España pues, Francia y las revistas porno que mi tío revendía en el pueblo cada año, eran el contrario lógico a toda concepción de españolidad.

Observando simplemente la trama urbana de estos dos pueblos extremeños, es inmediato poder comprender que las narrativas de vida y la experimentación del espacio social propiciados por estas estructuras habitacionales de naturaleza rural, generaron una asimilación afectiva y cultural de las relaciones interperso

partir de aquí, se pueden intuir las implicaciones que la añoranza y recuperación de este territorio han tenido en la construcción del ADN emo-espacial de mi familia.

Los/as arquitectos/as hemos hablado ad nauseam del modelo de ciudad impuesto tras la interpretación malintencionada que del lengua je del Movimiento Moderno hizo el mercado inmobiliario de la vivienda colectiva pero, ¿ se ha planteado algún tipo de debate serio desde la profesión, sobre las implicaciones emocionales, afectivas y sociales de vivir en una banlieuse construida a las afueras de Perpignan durante los años de emergencia residencial de la posguerra ?

ORIGINARIOS DE NINGUNA PARTE

Mis padres se conocieron en las chabolas de Orcasitas; yo nací y pasé los primeros años de mi vida en una de ellas. Su viaje de boda fue a Gipuzkoa, hospedados por el mejor amigo de mi padre que había emigrado a Euskadi años antes; por esta razón territorial y vital me llamo Ignacio.

desolar el barrio y mis padres hicieron lo imposible por escapar. No llegamos muy lejos ni conseguimos huir de la dureza de la periferia tampoco pues, establecidos en Leganés, las codiciones de vida eran muy similares eso sí, sin el horror de las drogas al acecho.

Es así como mi relato de vida se entrela za con la historia urbana del sur de Madrid, con el tránsito de mi familia del habitar natural en el pueblo, a la concen tración domiciliada en los bloque residenciales en H de los suburbios.

En 1981, a mis abuelos les entregaron un piso nuevo en Orcasitas.

En los bloques no quedaba nada de la parra ni del pozo, pero la guitarra de mi abuelo seguía sonando como en su antiguo patio. Mi tío también tocaba, mi madre y mi tía cantaban, y el resto hacíamos palmas por tangos y bulerías, en unas nochebuenas que solo termina ban cuando traían una rosca gigantesca de porras y un cantarito con chocolate. Este es el ejemplo vivido de musical ización del espacio, entendiendo el

familiar del encuentro. Y este hecho familiar no es casual en la periferia, en la que el espacio urbano compartido ha por un ritmo sociomusical que gira en torno a los compases derivados del

Marcelo Usera, con sus cines, bailes y tascas, fue otro espacio estructurante de la genética espacial de mi familia. Miran do escaparates, calle arriba y calle abajo; pasaron mis padres sus tardes de novios, por sus bares iban de cervezas los domin gos, en una de sus tiendas compraron mi carrito de bebé, que heredaría mi herma no y después mi hermana.

El barrio de Usera, como toda la periferia de la ciudad, fue el escenario de la urbanización de las clases populares emigradas desde el campo. Una transición de las memorias espaciales desde las tipologías vernáculas, hacia la la existencia sistematizada en los bloques de vivienda colectiva que, como en el extremo próximo a la plaza Elíptica de Usera, constituyeron los llamados Poblados Dirigidos de Madrid.

El elemento más exótico de mi memoria urbana familiar, lo incorporaron mis tíos emigrados a Australia. No era extraño en en aquellos años que los habitantes del sur de Europa colonizasen con retraso las múltiples oportunidades del continente. Las fotos que nos mandaban, con un rabioso technicolor capitalista, nos dejaban pasmados con aquellas hileras

las barbacoas en la piscina, los shopping malls de Brisbane...

Me pregunto cómo debió ser el tránsito de mis tíos de la urbanidad pacata y empedrada de la Extremadura más hostil imaginable, a aquel magma de suburbios de estilo americano, robados a la brutalidad de la tierra aborigen.

Todavía conservan mis padres en casa uno de aquellos souvenirs de latón con forma de canguro que nos trajeron.

El modelo de crecimiento suburbano de las grandes ciudades neliberalistas australianas es

con jardín y piscina, nutridas por una movilidad exclusivamente privada y, por consiguiente, insostenible.

antación

pimien

La venta de productos gastronómicos ‘de la tierra’ es un reclamo habitual de los espacios de la pausa. Así, los lugares otros salen al acecho de los viajeros para agasa

¿Quién no ha contemplado absorto/a un horror vacui de banderillas y cabezas de toro en un restaurante de carretera? Las referencias a los valores considerados como identidad nacional son frecuentes.

como recurso de un pintoresquismo cultu ras transregional, son del todo inevitables. Junto a éste suelen convivir otras mani festaciones folklóricas de menor calado.

Es curioso cómo los espacios de descanso en la carretera tienen especial predilec ción por la semiología de la tradición. La paso del/la que transita.

a

05. La semiótica identitaria de los lugares otros

No son evidentes los motivos, pero es curio so cómo las cuestiones monárquicas surgen en las carreteras. Es como si se sospechase de la extranjería presente en todo viaje, y se reclamase el favor del Estado.

Son constantes las simulaciones de espa cios cargados de sensación de hogar. No existe la posibilidad de permitir que el viaje sea vivido como tal, pues los espacios sedentarios siempre están presentes

Junto a la tauromaquia, las cacerías y todo su repertorio de imágenes sangrientas, son uno de los elementos más presentes en la carretera, particularmente en ciertas regiones.

Los espacios de la pausa ubicados sobre las líneas de desplazamiento por carretera están cargados de una semiótica objetual, mobiliar y decorativa que hace una alusión romantiza da constante a los espacios otros seden tarizados.

De esta manera, encontrarse en una gasolin era o restaurante de carretera es una experiencia temporalmente referencial, pues el tiempo que se está viviendo en el presente, no es más que una retroproyección hacia el que se ha vivido, si se viene de vuelta; o al que se vivirá, cuando nos dirigimos hacia un destino que nos espera.

Igualmente, el alto en el camino está vis-

cantes mencionan todos ellos a los espacios no presentes, a los lugares localizados en otra parte; en el interior, en la montaña, en la orilla del mar..., pero nunca en la espaciali dad propia del tránsito.

Es por ello que resulta sobrecogedor pensar en la experiencia vital de un/a empleado/a de bar de gasolinera, que pone cafés y pinchos

menca o paella que servirán de vacuo recuer do. ¿Qué experiencia del sitio se tiene cuando se está en un enclave simbólico que remite a todas partes menos a la que se habita?

Quizá sea este el magnetismo desolador de estos establecimientos, ocupados en condu cirnos a los lugares recordados o imaginados, a los espacios míticos que, en último térmi no, nos llevan al espacio global que lucha por contenerlo todo, el espacio abstracto y vapo roso de las identidades colectivas.

Folklorism

Despacho de Felipe VI

Cámara de Carlos V

Finca taurina

LA FERIA

Las ferias y los personajes grotes cos que albergan constituyen una tivas de los Territorios Circulato rios.

Su naturaleza nómada vinculada a música adquiera una capacidad

música de Camela a todo volumen; un territorio efímero esencial para la construcción de la identidad de

LA COCINA

cantes que estoy poniendo en prác visitar cualquier suburbio madrileño un sábado justo en esa desgraciadamente todavía casi las las tareas de la casa y dejan lista la la grabadora y registrar la música que sale por los balcones abiertos para ventilar.

resonaba en la periferia llegaba a las cocinas directamente desde la gasolinera.

06. La diseminación musical espacializada

para la cultura musical de barrio.

EL MERCADILLO

Los mercados ambulantes y la gita nización de las clases trabajadoras

elemento estructural para entender las claves ritmológicas de resig público de las periferias.

importancia que el comerciosionar el grupo.

A consecuencia de la condición itinerante del emi grado, antes de la llegada de las plataformas digi tales, se estableció un complejo mecanismo analógico de diseminación musical, estrecha

soporte necesario para su roproducción: el cas sette.

De esta manera, la cultura musical iba impregnan do el espacio de las periferias, en parte gracias a la naturaleza migrante de mayoría de sus habitantes. El sonido de las periferias es, por lo tanto, en gran medida la traslación al barrio de las sonoridades que se decubrían en los expositores de carretera, sin duda un dispositivo de exhibición y comuni cación sin el que este trabajo de investigación doc toral no tendría ningún sentido.

Como vengo planteando en esta exploración investigación, es innegable la potencia de la música vivida en grupo para transformar un espacio en lugar vivido. Igualmente las con notaciones espaciales de la música son poderosísimas ya que, raro es que una com posición del tipo que sea, no nos conduzca a un espacio determinado o, en su defecto, a una corporalidad determinada. Pero, ¿qué sucede cuando viajamos en un coche y pone mos música?

Para empezar, es importante apuntar que las características objetuales y/o materiales del vehículo son particularmente inquietantes ya que el coche es un objeto con escala habitable que a su vez nos permite habitar dinámi camente el territorio. Es por esto excitante pensar si cuando viajamos habitamos o sen cillamente nos movemos en el espacio. Si a esta cuestión escurridiza el añadimos el factor sonoro, podemos observar que la música termina impregnando el espacio-ob jeto en movimiento que es el automóvil, y ésta se ve proyectada emocionalmente sobre el paisaje. Un coche con música es un dispositi

De este modo y, en conexión con la presencia de la música en los espacios de descanso de los Territorios Circulatorios de la migración, nuestros desplazamientos al pueblo cada verano eran experiencias que evidenciaban con claridad la complejidad de mensajes que música, lugar y movimiento pueden proyec tar. Cada cassette tenía un año, pertenecía a unas vacaciones en concreto o estaba lug arizado para siempre en aquella cuneta en la que mi padre cambió la rueda, en aquella excursión al pantano que le costó una dis cusión poteósica con mi madre.

En cualquier caso, coche, música y periferia han mantenido una relación vinculante desderializaciones de la música como el ‘botellón’ o el ‘parkineo’ y la que se manifestaba cuando el ‘bakala’ del barrio llegaba colocado

aparcamiento con la música máquina salien do a todo volumen de las ventanillas abiertas de par en par de su coche meticulosamenteti ‘tuneado’.

Alessandro Manetti Istituto Europeo di Design General Director (Spain)

This is your guy !

Dr Atxu Amánn MSc & PhD Architect MSc & PhD coordinator ETSAM

Dr Eduardo Arroyo MSc & PhD Architect

“only as aesthetic phenomenon world and existence are

moltes gràcies gracias thanks