{"id":19883,"date":"2010-09-11T08:35:49","date_gmt":"2010-09-11T08:35:49","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=19883"},"modified":"2022-04-20T10:28:39","modified_gmt":"2022-04-20T08:28:39","slug":"manual-de-discurso-automatico-para-arquitectos-jose-ramon-hernandez-correa","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/manual-de-discurso-automatico-para-arquitectos-jose-ramon-hernandez-correa\/","title":{"rendered":"[:es]Manual de discurso autom\u00e1tico para arquitectos | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:gl]Manual de discurso autom\u00e1tico para arquitectos | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:en]Manual of automatic speech for architects | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:]"},"content":{"rendered":"

[:es]<\/p>\n

(Resumen de un art\u00edculo de hace unos a\u00f1os, que me apetece recordar)<\/span><\/em><\/p>\n

Los arquitectos nos vemos a menudo en situaciones muy inc\u00f3modas:
\n\u2013Carlos Luis, \u00bft\u00fa qu\u00e9 opinas del Guggenheim de Bilbao?
\n\u2013Luisa Fernanda, \u00bfqu\u00e9 te parece lo de Calatrava en Tenerife?<\/p>\n

Ante estas preguntas a bocajarro nunca estamos a la altura. Y es muy triste, siendo arquitectos, no tener una opini\u00f3n formada sobre las obras de nuestros ilustres compa\u00f1eros, y balbucear torpemente agachando las orejas sin saber qu\u00e9 decir. Pero es mucho peor cuando s\u00ed tenemos una opini\u00f3n, porque entonces emitimos borborigmos y ladramos: \u201c\u00a1Es una p… m…..!\u201d, o: \u201c\u00a1Es coj…..!\u201d, lo cual nos deja como patanes ignorantes, groseros y maleducados ante quien esperaba que fu\u00e9ramos capaces de articular un discurso.<\/p>\n

Somos arquitectos, es decir, personas con una alta (se supone) formaci\u00f3n t\u00e9cnica y human\u00edstica, y se nos tiene que notar. El prestigio de nuestra profesi\u00f3n est\u00e1 en juego. Cuando alguien recurre a nuestra opini\u00f3n o a nuestro juicio, confiado en nuestros conocimientos y en nuestra educada sensibilidad, no podemos responderle con un vergonzante soplido, con la cara colorada de verg\u00fcenza y de ignorancia, ni tampoco con un exabrupto.<\/p>\n

Nuestra obligaci\u00f3n es desplegar un discurso conceptual a la par que florido, y para ello, como auxilio y medicamento de urgencia, os doy una tabla y unas sencillas instrucciones.<\/p>\n

La tabla tiene siete columnas, de la A a la G, y veinte filas.<\/p>\n

\"\"<\/a><\/p>\n

La estructura es muy sencilla. Es una m\u00e1quina de formar frases con la misma composici\u00f3n:<\/p>\n

a).- Un sintagma nominal que consta de art\u00edculo, sustantivo, adjetivo y complemento, todo ello actuando como sujeto.
\nb).- Un sintagma verbal que consta de verbo y complemento directo (formado por sustantivo, adverbio y adjetivo), todo ello actuando como predicado.<\/p>\n

El que todas las frases tengan la misma estructura formal permite que cada elemento sea intercambiable por otro de la misma columna, sin otra repercusi\u00f3n que su significado, que, por otra parte, es perfectamente vac\u00edo.<\/p>\n

Esto permite hablar y hablar sin decir nada.
\nHay que usar un procedimiento para sacar al azar un n\u00famero entre veinte. Puede ser el icosaedro de cartulina cuyo desarrollo adjuntar\u00e9 en la pr\u00f3xima entrada. Pero puede ser cualquier otro: Veinte papelitos numerados, cartas, etc. O, simplemente, ir diciendo uno mismo los n\u00fameros a voleo.<\/p>\n

Cada uno de los n\u00fameros que sacamos nos da una fila, y esto hay que hacerlo siete veces, uno por cada columna. Se obtiene primero un n\u00famero del uno al veinte para la columna A, otro para la B, y as\u00ed.<\/p>\n

Si, por ejemplo, nos sale la serie num\u00e9rica 3, 13, 7, 2, 15, 20 y 9, la frase correspondiente ser\u00e1: \u201cLa materialidad topol\u00f3gica del ictus expresa una frialdad intensamente metaf\u00edsica\u201d. \u00a1Ch\u00fapate esa!<\/p>\n

Hay que se\u00f1alar que cada uno puede y debe adaptar la tabla a sus gustos. (Por ejemplo, a m\u00ed la palabra ictus, el golpe de la medida musical, me gusta, y por eso lo pongo en la casilla C-7, pero comprendo que a otros no les diga nada).<\/p>\n

Tambi\u00e9n me ha parecido interesante la palabra \u201cidea\u201d en el A-7, y adem\u00e1s me gusta \u201cideal\u201d en el B-19, y no quiero quitar ninguna de las dos porque cada una es \u00fatil para su juego. Pero si me sale el 7 en el A y el 19 en el B me queda: \u201cLa idea ideal…\u201d, lo que, obviamente, cambiar\u00e9 por otra palabra cualquiera. Para colmo, el G-15 es \u201cidealista\u201d, y tambi\u00e9n me gusta que est\u00e9 ah\u00ed. Creo que no hay m\u00e1s repeticiones, y \u00e9sta no quiero quitarla, pero otros pueden hacerlo.<\/p>\n

Y nada m\u00e1s. Creo que est\u00e1 todo claro, y la tabla lista para ser utilizada.
\nPracticad con ella. Tomad palabras a voleo o hacedlo como os parezca. En unos minutos ser\u00e9is imbatibles, y hasta podr\u00e9is escribir art\u00edculos incomprensibles (y sin ning\u00fan sentido), que es lo que todos andamos buscando.<\/p>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 Doctor Arquitecto
\nToledo \u00b7 septiembre 2010<\/p>\n

[:en]<\/p>\n

( Summary of an article of a few years ago, which I like to remember)<\/span><\/em><\/p>\n

The architects we meet often in very inconvinient situations:<\/p>\n

– Carlos Luis, you what do you think of the Guggenheim of Bilbao?<\/p>\n

– Luisa Fernanda, what does look like to you of Calatrava in Tenerife?<\/p>\n

Before these questions at point-blank range we are never to the height. And it is very sad, being architects, not to have an opinion formed about the works of our illustrious companions, and to stutter stubbornly bending the ears without knowing what to say. But it is much worse when yes we have an opinion, because then we issue rumblings of the bowels and bark: \u201cit is one p … m …..!\u201d, or:\u00a0\u201cit is coj …..!\u201d \u00ab, which leaves us as ignorant, rude and bad-mannered louts before whom it was hoping that we were capable of articulating a speech.<\/p>\n

We are architects, that is to say, persons with a discharge (it is supposed) technical and humanistic formation, and one has to notice us. The prestige of our profession is in game. When someone resorts to our opinion or to our judgment entrusted in our knowledge and in our polite sensibility, we can answer him either with an embarrassing blow, with the coloured face of shame and of ignorance, nor either with an outburst.<\/p>\n

Our obligation is a conceptual speech opens at par that flowery, and for it, as aid and medicine of urgency, I give you a table and a few simple instructions.<\/p>\n

The table has seven columns, from her A to the G, and twenty rows.<\/p>\n

\"\"<\/a><\/p>\n

The structure is very simple. It is a machine of forming phrases with the same composition:<\/p>\n

a).- A noun phrase that consists of article, noun, adjective and complement, all this acting as subject.<\/p>\n

b).- A verbal syntagm that consists of verb and direct complement (formed by noun, adverb and adjective), all this acting as predicate.<\/p>\n

The fact that all the phrases have the same formal structure it is allowed that every element should be exchangeable for other one of the same column, without another repercussion that his meaning, which, on the other hand, is perfectly empty.<\/p>\n

This allows to speak and to speak without saying anything.<\/p>\n

It is necessary to use a procedure to extract at random a number between twenty. He can be the icosaedro of cardboard which development I will attach in the near entry. But it can be any different: Twenty papelitos numbered, letters, etc. Or, simply, one itself is saying the numbers to I volley.<\/p>\n

Each of the numbers that we extract gives us a row, and this it it is necessary to do seven times, one for every column. A number is obtained first from one to twenty for the column A, other one for the B, and this way.<\/p>\n

If, for example, the numerical series goes out for us 3, 13, 7, 2, 15, 20 and 9, the corresponding phrase will be: \u201cThe materiality topol\u00f3gica of the ictus expresses an intensely metaphysical coldness\u201d. Absorb you this!<\/p>\n

It is necessary to indicate that each one can and must adapt the table to his tastes. (For example, ictus, the blow of the musical measure, I like the word, and because of it I put it in the cabin C-7, but I understand that he does not say anything to others).<\/p>\n

Also it has seemed to me to be interesting the word \u201cdesigns\u00bb in the A-7, and in addition I like it \u201cideally\u201d in the B-19, and I do not want to remove any of the two because each one is useful for his game. But if it goes out for me 7 in A and 19 in the B I still have: \u201cThe ideal idea …\u201d, which, obviously, I will change into another word anyone. For limit, the G-15 is \u201cidealistic\u201d, and also I like that it is there. I believe that there are no any more repetitions, and this one I do not want to remove it, but others can do it.<\/p>\n

And nothing more. I believe that it is quite clear, and the table ready to be used.<\/p>\n

Practise with her. Take words to I volley or do it seem to you. In a few minutes you will be unbeatable, and even you will be able to write incomprehensible articles (and without any sense), that is what we all cover looking.<\/p>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 Doctor Architect<\/p>\n

Toledo \u00b7 september 2010<\/p>\n

[:gl]<\/p>\n

<\/p>\n

(Resumo dun artigo de fai uns anos, que me apetece recordar)<\/span><\/em><\/p>\n

Os arquitectos v\u00e9monos a mi\u00fado en situaci\u00f3ns moi inc\u00f3modas:<\/p>\n

\u2013Carlos Lu\u00eds, \u00bfti que opinas do Guggenheim de Bilbao?<\/p>\n

\u2013Luisa Fernanda, \u00bfque che parece o de Calatrava en Tenerife?<\/p>\n

Ante estas preguntas de socato nunca estamos \u00e1 altura. E \u00e9 moi triste, sendo arquitectos, non ter unha opini\u00f3n formada sobre as obras dos nosos ilustres compa\u00f1eiros, e balbucear torpemente agachando as orellas sen saber que dicir. Pero \u00e9 moito peor cando si temos unha opini\u00f3n, porque ent\u00f3n emitimos borborigmos e ladramos: \u201c\u00a1\u00c9 unha p… m…..!\u201d, ou: \u201c\u00a1\u00c9 coll…..!\u201d, o cal d\u00e9ixanos como patanes ignorantes, brut\u00e1ns e maleducados ante quen esperaba que f\u00f3semos capaces de articular un discurso.<\/p>\n

Somos arquitectos, \u00e9 dicir, persoas cunha alta (suponse) formaci\u00f3n t\u00e9cnica e human\u00edstica, e t\u00e9nllenos que notar. O prestixio da nosa profesi\u00f3n est\u00e1 en xogo. Cando algu\u00e9n recorre \u00e1 nosa opini\u00f3n ou ao noso xu\u00edzo, confiado nos nosos co\u00f1ecementos e na nosa educada sensibilidade, non podemos responderlle cun vergonzante soplido, coa cara colorada de vergonza e de ignorancia, nin tampouco cun exabrupto.<\/p>\n

A nosa obriga \u00e9 despregar un discurso conceptual \u00e1 par que florido, e para iso, como auxilio e medicamento de urxencia, vos dou unha t\u00e1boa e unhas sinxelas instruci\u00f3ns.<\/p>\n

A t\u00e1boa ten sete columnas, de \u00e1 \u00e1 G, e vinte filas.<\/p>\n

\"\"<\/a><\/p>\n

A estrutura \u00e9 moi sinxela. \u00c9 unha m\u00e1quina de formar frases coa mesma composici\u00f3n:<\/p>\n

a).- Un sintagma nominal que consta de artigo, substantivo, adxectivo e complemento, todo iso actuando como suxeito.<\/p>\n

b).- Un sintagma verbal que consta de verbo e complemento directo (formado por substantivo, adverbio e adxectivo), todo iso actuando como predicado.<\/p>\n

O que todas as frases te\u00f1an a mesma estrutura formal permite que cada elemento sexa intercambiable por outro da mesma columna, sen outra repercusi\u00f3n que o seu significado, que, por outra parte, \u00e9 perfectamente baleiro.<\/p>\n

Isto permite falar e falar sen dicir nada.<\/p>\n

Hai que usar un procedemento para sacar ao azar un n\u00famero entre vinte. Pode ser o icosaedro de cartolina cuxo desenvolvemento achegarei na pr\u00f3xima entrada. Pero pode ser calquera outro: Vinte papelitos numerados, cartas, etc. Ou, simplemente, ir dicindo un mesmo os n\u00fameros a volea.<\/p>\n

Cada un dos n\u00fameros que sacamos d\u00e1nos unha fila, e isto hai que facelo sete veces, un por cada columna. Obtense primeiro un n\u00famero do un ao vinte para a columna A, outro para a B, e as\u00ed.<\/p>\n

Se, por exemplo, nos sae a serie num\u00e9rica 3, 13, 7, 2, 15, 20 e 9, a frase correspondente ser\u00e1: \u201cA materialidade topol\u00f3xica do ictus expresa unha frialdade intensamente metaf\u00edsica\u201d. \u00a1Ch\u00fapache esa!<\/p>\n

Hai que sinalar que cada un pode e debe adaptar a t\u00e1boa aos seus gustos. (Por exemplo, a min a palabra ictus, o golpe da medida musical, g\u00fastame, e por iso p\u00f3\u00f1oo na casa C-7, pero comprendo que a outros non lles diga nada).<\/p>\n

Tam\u00e9n me pareceu interesante a palabra \u201cidea\u201d no A-7, e ademais g\u00fastame iideal\u201d no B-19, e non quero quitar ningunha das d\u00faas porque cada unha \u00e9 \u00fatil para o seu xogo. Pero se me sae o 7 no A e o 19 no B qu\u00e9dame: \u201cA idea ideal…\u201d o que, obviamente, cambiarei por outra palabra calquera. Para colmo, o GR-15 \u00e9 \u201cidealista\u201d, e tam\u00e9n me gusta que estea a\u00ed. Creo que non hai m\u00e1is repetici\u00f3ns, e esta non quero quitala, pero outros poden facelo.<\/p>\n

E nada m\u00e1is. Creo que est\u00e1 todo claro, e a t\u00e1boa lista para ser utilizada.<\/p>\n

Practicade con ela. Tomade palabras a volea ou fac\u00e9deo como vos pareza. Nuns minutos seredes imbatibles, e ata poderedes escribir artigos incomprensibles (e sen ning\u00fan sentido), que \u00e9 o que todos andamos buscando.<\/p>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 Doutor Arquitecto<\/p>\n

Toledo \u00b7 setembro 2010<\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] (Resumen de un art\u00edculo de hace unos a\u00f1os, que me apetece recordar) Los arquitectos nos vemos a menudo en situaciones muy inc\u00f3modas: \u2013Carlos Luis, \u00bft\u00fa qu\u00e9 opinas del Guggenheim de Bilbao? \u2013Luisa Fernanda, \u00bfqu\u00e9 te parece lo de Calatrava en Tenerife? Ante estas preguntas a bocajarro nunca estamos a la altura. Y es muy […]<\/p>\n","protected":false},"author":33,"featured_media":19885,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[393,3645,3646,3653,1021,1103,1865],"class_list":["post-19883","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-critica","tag-discurso-automatico","tag-discurso-vacio","tag-jose-ramon-hernandez-correa","tag-pensamiento","tag-profesion","tag-reflexion"],"yoast_head":"\nManual de discurso autom\u00e1tico para arquitectos | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa<\/title>\n<meta name=\"description\" content=\"Manual de discurso autom\u00e1tico para arquitectos\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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