Suchergebnisse

This paper presents an exercise of the power study and its corrupted dynamics throughout the theoretical and plastic development of an artistic, personal homonymous proposal which was exposed to "La Escuela Casa del Artista" (School House of the Artist). The Utopia is represented as a discussion tool which exhibits the political and social vision of an architect as well as the critic of certain contextual political phenomenon. A better world seems to be the universal shared vision. On the contrary, it is adhered to the subjectivity and perception of its agents. The perfection of the planet is the problem of the intolerant through any other proposal or approach. Sexual violence, immigrants abuse, ethical cleanliness among other atrocities constitutes an endless and incompatible list with an idyllic state of perfection, clearly unreachable. The interdisciplinary study of diverse sources of reference as cinematographic, literary among other forms an integral part of the artistic discourse construction. Setting out the artistic experience as a window of the human condition, creating an alternative dialogue space. ; Este artículo presenta un estudio del ejercicio del poder y sus dinámicas corruptas a través del desarrollo teórico y plástico de una propuesta artística, personal homónima que fue expuesta en la Escuela Casa del Artista. La Utopía se presenta como una herramienta discursiva que expone tanto la visión política y social de su arquitecto como una crítica de ciertos fenómenos políticos contextuales. Un mundo mejor parece ser una visión compartida universalmente. Por el contrario, está sujeta a la subjetividad y percepción de sus gestores. La perfección plantea el problema de la intolerancia hacia cualquier otra propuesta o estrategia. La violencia sexual, el abuso hacia los inmigrantes, limpiezas étnicas y otras atrocidades constituyen una lista interminable e incompatible con un estado idílico de perfección claramente inalcanzable. El estudio interdisciplinario de diversas fuentes de referencia tales como las cinematográficas, literarias entre otras, forma parte integral de la construcción del discurso artístico. Planteando la experiencia artística como una ventana distorsionada de la condición humana abriendo así espacios de dialogo alternativo

A "real utopia" isn't an oxymoron or a figment of the imagination. Erik Olin Wright writes, instead, that real world examples of functioning social alternatives can help us find ways to improve the human condition. When history provides an opportunity to effect such changes, a familiarity with real utopias will provide a roadmap.

Space colonization and subterranean dwelling have been staples of speculative fiction since at least the nineteenth century, but the invention of nuclear weapons and the prospect of global environmental collapse have, certainly since the Cold War, made proposals offering vertical escape from the surface of the planet a matter worthy of serious consideration among engineers, planners, military strategists, and countercultural futurologists. The shift in the conception of utopia, from the lateral displacements typical of its classical formations to the vertical modes of descent and ascent considered in this article, suggests a structural relationship between utopia and catastrophe produced out of the new conditions of global threat inaugurated by atomic weapons. While the prospect of impending global catastrophe would appear to lead to a dystopian or even fatalistic acceptance of the limits of human life on Earth, the most devastating assessments of humanity's future have also produced utopian proposals for the reimagining of human potentiality below and above the surface of the planet. In a real sense, then, catastrophe has become the precondition for the establishment of utopia, both as the compelling threat that demands a plausible response to impending annihilation and as the necessary event that apocalyptically clears the ground for new modes of living.