{"id":51584,"date":"2015-02-27T06:01:09","date_gmt":"2015-02-27T06:01:09","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=51584"},"modified":"2023-05-08T14:36:35","modified_gmt":"2023-05-08T12:36:35","slug":"visiones-antonio-s-rio-vazquez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/visiones-antonio-s-rio-vazquez\/","title":{"rendered":"Visiones | Antonio S. R\u00edo V\u00e1zquezVisi\u00f3ns | Antonio S. R\u00edo V\u00e1zquezVisions | Antonio S. Rio V\u00e1zquez"},"content":{"rendered":"

\"\"<\/a>
Mark Klett and Byron Wolfe, \u00abRectilinear composition of the south rim made from six photographs, four by Alvin Langdon Coburn, ca. 1911<\/em>\u00bb<\/span><\/a><\/span><\/figcaption><\/figure><\/p>\n
\n

\u00abAunque retiremos a\u00f1adidos culturales o ling\u00fc\u00edsticos, nunca encontraremos, debajo, un lugar puro \u2014y a\u00fan menos un Espacio o Tiempo puro\u2014. Lo que encontraremos son calificaciones continuas y cambiantes sobre los lugares particulares: lugares calificados por sus propios contenidos y calificados por las distintas maneras en que estos contenidos son articulados (indicados, descritos, discutidos, narrados, etc…) en una cultura determinada\u00bb.<\/em><\/p>\n

Edward S. Casey<\/a> (1996)<\/p>\n<\/blockquote>\n

Posiblemente, el origen de todo su trabajo se encuentre en su formaci\u00f3n como ge\u00f3logo. La mirada al paisaje que hace Mark Klett<\/a> (Albany, 1952) es una mirada estratigr\u00e1fica, d\u00f3nde cada generaci\u00f3n deja tras de s\u00ed un estrato, un sedimento cultural que pasa conformar, a enriquecer la cultura del lugar. Profesor de Arte en la Universidad Estatal de Arizona e interesado por la relaci\u00f3n entre la cultura, el tiempo y el paisaje, comenz\u00f3 a mediados de los setenta una serie de fotograf\u00edas de emplazamientos del oeste norteamericano que hab\u00edan sido recogidos previamente por las c\u00e1maras de los pioneros Timothy O’Sullivan<\/a>, William Henry Jackson<\/a> o William H. Bell<\/a>, en el transcurso de las expediciones comisionadas por el Gobierno Federal para documentar las nuevas fronteras occidentales de los Estados Unidos durante la segunda mitad del siglo XIX.<\/p>\n

\n

\u00abEl paisaje ha dejado de ser un paraiso y se ha convertido en un espejo que muestra una imagen de nuestra cultura. \u2014explica Klett\u2014 Actualmente vemos las fotograf\u00edas de paisaje de una manera similar a como se perciben las sombras en el mito de la caverna plat\u00f3nica. Como construcciones que nos muestran lo que sabemos sobre los paisajes y territorios y la manera en la que hemos obtenido ese conocimiento. Es decir, como el resultado de una experiencia individual contextualizada en un tiempo definido de manera precisa y, en el mejor de los casos, como lenguaje que comenta, opina y hace visible la propia experiencia\u00bb<\/em><\/p>\n<\/blockquote>\n

Fruto de The Rephotographic Survey Project<\/em><\/a>, en 1984, public\u00f3 los resultados ofreciendo una segunda visi\u00f3n sobre el paisaje americano, junto a la metodolog\u00eda necesaria para llevar a cabo las refotograf\u00edas<\/a>. Como precisan en el blog Arqueolog\u00eda del punt de vista<\/em><\/a><\/p>\n

\n

\u00abSu trabajo, entonces parad\u00f3jicamente novedoso, ven\u00eda equipado de serie con un discurso sobre la construcci\u00f3n del imaginario colectivo. Este discurso contiene una lectura pol\u00edtica. Parte de unas im\u00e1genes tomadas por unos expedicionarios en unos Territorios casi salvajes. Cuando los reencuentra Klett y su equipo, esos paisajes son ya parte de unos Estados consolidados que forman un importante pa\u00eds. Su trabajo nos est\u00e1 hablando as\u00ed de la particular percepci\u00f3n de un paisaje como Naci\u00f3n\u00bb.<\/em><\/p>\n<\/blockquote>\n

Entre los a\u00f1os 1998 y 2000, Klett retomar\u00eda el proyecto, publicando en 2004 el libro Third Views, Second Sights<\/em><\/a> y, m\u00e1s recientemente Reconstructing the View<\/em> <\/a>(2012), en compa\u00f1\u00eda de Byron Wolfe. Los libros se acompa\u00f1aron de una completa p\u00e1gina web en la que se explica todo el proceso y donde se pueden observar algunas de las\u00a0 im\u00e1genes realizadas en el siglo XIX, las de los a\u00f1os setenta y las de\u00a0 finales del siglo XX. Las visiones complementarias tomadas en cada \u00e9poca ponen de manifiesto que los paisajes culturales se han convertido en grandes textos, como sugiere Karl Schl\u00f6gel y, en ellos, \u00abhay atractivas l\u00edneas de continuidad que llevan de una \u00e9poca a otra\u00bb. Para Sch\u00f6gel \u2014como para Klett\u2014 el aliciente es que esa multiplicidad de textos puede leerse y escucharse a la vez, en una suerte de polisemia y polifon\u00eda presente en cada mirada.<\/p>\n

Antonio S. R\u00edo V\u00e1zquez\u00a0. Doctor arquitecto
\nA Coru\u00f1a. febrero 2015<\/p>\n

\"\"<\/a>
Mark Klett and Byron Wolfe, \u00abRectilinear composition of the south rim made from six photographs, four by Alvin Langdon Coburn, ca. 1911<\/em>\u00bb<\/span><\/a><\/span> <\/em><\/figcaption><\/figure><\/p>\n
\n

\u00abThough we withdraw added cultural or linguistic, we will never find, below, a pure place – and even less a Space or pure Time-. What we will find they are constant and changeable qualifications on the particular places: places qualified by his own contents and qualified by the different ways in which these contents are articulated (indicated, described, controversial, narrated, etc …) in a certain culture\u00bb.<\/em><\/p>\n

Edward S. Casey<\/a> (1996)<\/p>\n<\/blockquote>\n

Possibly, the origin of all his work is in his formation as geologist. The look to the landscape that\u00a0Mark Klett<\/a> does (Albany, 1952) is a stratigraphic look, where every generation stops besides yes a stratum, a cultural sediment that happens to agree, to enrich the local culture. Teacher of Art in the State University of Arizona and interested in the relation between the culture, the time and the landscape, it began in the middle of the seventies a series of photographies of emplacements of the North American west that had been gathered before by the chambers of the pioneers\u00a0Timothy O’Sullivan<\/a>, William Henry Jackson<\/a> or William H. Bell<\/a>, in the course of the expeditions commissioned by the Federal Government to document the new western borders of the United States during the second half of the 19th century.<\/p>\n

\n

\u00abThe landscape has stopped being a paradise and has turned into a mirror that shows an image of our culture. – makes clear Klett – Nowadays we see the photographies of landscape of a similar way to since the shades are perceived in the myth of the platonic cavern. As constructions that show us what we know on the landscapes and territories and the way in which we have obtained this knowledge. That is to say, as the result of an individual experience contextualizada in a definite time of a precise way and, at best, as language on that it comments, thinks and makes the own experience visible\u00bb<\/em><\/p>\n<\/blockquote>\n

Fruto de\u00a0The Rephotographic Survey Project<\/em><\/a>, in 1984, published the results offering the second vision on the American landscape, close to the necessary methodology to carry out the rephotographies<\/a>. As they need in the blog Arqueolog\u00eda del punt de vista<\/em><\/a>:<\/em><\/p>\n

\n

\u00abHis work, then paradoxically new, was coming equipped from series with a speech on the construction of the imaginary group. This speech contains a political reading. Part of a few images thought by a few members of an expedition in a few almost wild Territories. When them there meets again Klett and his equipment, these landscapes are already a part of a few consolidated States that form an important country. His work is speaking to us this way about the particular perception of a landscape as Nation\u00bb.<\/em><\/p>\n<\/blockquote>\n

Between the year 1998 and 2000, Klett would take again the project, publishing in 2004 the book\u00a0Third Views, Second Sights<\/em><\/a> and, more recently Reconstructing the View<\/em> <\/a>(2012), in Byron Wolfe’s company. The books accompanied of a complete\u00a0web page in the one that explains the whole process to herself and where can be observed some of the images realized in the 19th century, those of the seventies and those of ends of the 20th century. The complementary visions taken in every epoch reveal that the cultural landscapes have turned into big texts, as suggests\u00a0Karl Schl\u00f6gel and, in them, \u00abthere are attractive lines of continuity that go from an epoch to other one\u00bb. For Sch\u00f6gel – since for Klett – the inducement is that this multiplicity of texts can be read and be listened simultaneously, in a luck of polisemia and present polyphony in every look.<\/p>\n

Antonio S. R\u00edo V\u00e1zquez . Doctor arvhitect
\nA Coru\u00f1a. february 2015<\/p>\n

\"\"<\/a>
Mark Klett and Byron Wolfe, \u00abRectilinear composition of the south rim made from six photographs, four by Alvin Langdon Coburn, ca. 1911<\/em>\u00bb<\/span><\/a><\/span> <\/em><\/figcaption><\/figure><\/p>\n
\n

\u00abA\u00ednda que retiremos engadidos culturais ou ling\u00fc\u00edsticos, nunca encontraremos, debaixo, un lugar puro -e a\u00ednda menos un Espazo ou Tempo puro-. O que encontraremos son cualificaci\u00f3ns continuas e cambiantes sobre os lugares particulares: lugares cualificados polos seus propios contidos e cualificados polas distintas maneiras en que estes contidos son articulados (indicados, descritos, discutidos, narrados, etc…) nunha cultura determinada\u00bb.<\/em><\/p>\n

Edward S. Casey<\/a> (1996)<\/p>\n<\/blockquote>\n

Posiblemente, a orixe de todo o seu traballo enc\u00f3ntrese na s\u00faa formaci\u00f3n como xe\u00f3logo. A mirada \u00e1 paisaxe que fai\u00a0Mark Klett<\/a> (Albany, 1952) \u00e9 unha mirada estratigr\u00e1fica, onde cada xeraci\u00f3n deixa tras de si un estrato, un sedimento cultural que pasa conformar, a enriquecer a cultura do lugar. Profesor de Arte na Universidade Estatal de Arizona e interesado pola relaci\u00f3n entre a cultura, o tempo e a paisaxe, comezou a mediados dos setenta unha serie de fotograf\u00edas de localizaci\u00f3ns do oeste norteamericano que foran recollidos previamente polas c\u00e1maras dos pioneiros Timothy O’Sullivan<\/a>, William Henry Jackson<\/a> ou William H. Bell<\/a>, no transcurso das expedici\u00f3ns comisionadas polo Goberno Federal para documentar as novas fronteiras occidentais dos Estados Unidos durante a segunda metade do s\u00e9culo XIX.<\/p>\n

\n

\u00abA paisaxe deixou de ser un paraiso e converteuse nun espello que mostra unha imaxe da nosa cultura. -explica Klett- Actualmente vemos as fotograf\u00edas de paisaxe dun xeito similar a como se perciben as sombras no mito da caverna plat\u00f3nica. Como construci\u00f3ns que nos mostran o que sabemos sobre as paisaxes e territorios e o xeito no que obtivemos ese co\u00f1ecemento. \u00c9 dicir, como o resultado dunha experiencia individual contextualizada nun tempo definido de xeito preciso e, no mellor dos casos, como linguaxe que comenta, opina e fai visible a propia experiencia\u00bb<\/em><\/p>\n<\/blockquote>\n

Froito de\u00a0The Rephotographic Survey Project<\/em><\/a>, en 1984, publicou os resultados ofrecendo unha segunda visi\u00f3n sobre a paisaxe americana, xunto \u00e1 metodolox\u00eda necesaria para levar a cabo as\u00a0refotograf\u00edas<\/a>. Como precisan no blog Arqueolox\u00eda do punto de vista<\/em><\/a><\/p>\n

\n

\u00abO seu traballo, ent\u00f3n paradoxalmente novidoso, vi\u00f1a equipado de serie cun discurso sobre a construci\u00f3n do imaxinario colectivo. Este discurso cont\u00e9n unha lectura pol\u00edtica. Parte dunhas imaxes tomadas por uns expedicionarios nuns Territorios case salvaxes. Cando os reencontra Klett e o seu equipo, esas paisaxes son xa parte duns Estados consolidados que forman un importante pa\u00eds. O seu traballo estanos a falar as\u00ed do particular percepci\u00f3n dunha paisaxe como Naci\u00f3n\u00bb.<\/em><\/p>\n<\/blockquote>\n

Entre os anos 1998 e 2000, Klett retomar\u00eda o proxecto, publicando en 2004 o libro\u00a0Third Views, Second Sights<\/em><\/a> e, m\u00e1is recentemente Reconstructing the View<\/em> <\/a>(2012), en compa\u00f1\u00eda de\u00a0Byron Wolfe. Os libros acompa\u00f1\u00e1ronse dunha completa\u00a0p\u00e1xina web na que se explica todo o proceso e onde se poden observar algunhas das imaxes realizadas no s\u00e9culo XIX, as dos anos setenta e as de finais do s\u00e9culo XX. As visi\u00f3ns complementarias tomadas en cada \u00e9poca po\u00f1en de manifesto que as paisaxes culturais se converteron en grandes textos, como suxire\u00a0Karl Schl\u00f6gel e, neles, \u00abhai atractivas li\u00f1as de continuidade que levan dunha \u00e9poca a outra\u00bb. Para Sch\u00f6gel -como para Klett- o aliciente \u00e9 que esa multiplicidade de textos pode lerse e escoitarse \u00e1 vez, nunha sorte de polisemia e polifon\u00eda presente en cada mirada.<\/p>\n

Antonio S. R\u00edo V\u00e1zquez . Doutor arquitecto
\nA Coru\u00f1a. febreiro 2015<\/p>\n

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

\u00abAunque retiremos a\u00f1adidos culturales o ling\u00fc\u00edsticos, nunca encontraremos, debajo, un lugar puro \u2014y a\u00fan menos un Espacio o Tiempo puro\u2014. Lo que encontraremos son calificaciones continuas y cambiantes sobre los lugares particulares: lugares calificados por sus propios contenidos y calificados por las distintas maneras en que estos contenidos son articulados (indicados, descritos, discutidos, narrados, etc…) […]<\/p>\n","protected":false},"author":12,"featured_media":51586,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[4024,11568,11566,12460,11572,11567,9160,1286,11569,11571,11570],"class_list":["post-51584","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-antonio-s-rio-vazquez","tag-byron-wolfe","tag-edward-s-casey","tag-fotografia","tag-karl-schlogel","tag-mark-klett","tag-paisaje-cultural","tag-territorio","tag-timothy-osullivan","tag-william-h-bell","tag-william-henry-jackson"],"yoast_head":"\nVisiones | Antonio S. 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