{"id":58844,"date":"2016-03-25T06:02:50","date_gmt":"2016-03-25T05:02:50","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=58844"},"modified":"2022-08-12T11:57:28","modified_gmt":"2022-08-12T09:57:28","slug":"mapas-en-blanco-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/mapas-en-blanco-miguel-angel-diaz-camacho\/","title":{"rendered":"[:es]Mapas en blanco | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Mapas en branco | Miguel \u00c1ngel D\u00edaz Camacho[:en]Maps in white | Miguel \u00c1ngel D\u00edaz Camacho[:]"},"content":{"rendered":"

[:es]

\"Lewis<\/a>
Lewis Carroll, 1832\u20131898. \u201cOcean Chart.\u201d Mapa Impreso, 13 \u00d7 8.2 cm | libweb5.princeton.edu<\/a><\/span><\/figcaption><\/figure><\/p>\n

En 1876 se publicaba por primera vez \u00abThe Hunting of the Snark<\/a>\u00ab, un poema de Lewis Carroll<\/a> con ilustraciones de Henry Holyday<\/a>. Entre una serie de dibujos cargados de tinta, aparece como una revelaci\u00f3n la carta de navegaci\u00f3n \u00abOcean Chart\u00bb, una suerte de mapa<\/a> que incluye las orientaciones preceptivas o la escala, pero sin informaci\u00f3n visible <\/i>en su interior: sin vestigios de tierra, sin marcas ni se\u00f1ales, sin coordenadas terrestres, sin referencias. Tan solo el mar.<\/p>\n

Respetado el formato convencional, pero suprimidos los signos de fondo, el mapa se convierte en un verdadero instrumento fenomenol\u00f3gico: en \u00e9l se encuentra el oleaje de las tormentas, el viaje saltar\u00edn de los delfines, la batalla naval de nuestros antepasados, el vuelo migratorio de las aves, el fondo marino del abismo virgiliano<\/i>, o el reflejo de las nubes en el agua. En palabras de Fernando Pessoa<\/p>\n

\n

\u00abEs muy dif\u00edcil ver solo lo que es visible\u00bb.<\/em><\/p>\n<\/blockquote>\n

Como si los paisajes no pudieran explicarse tan solo por su realidad f\u00edsica, sino por su condici\u00f3n cambiante, su metamorfosis, su metaf\u00edsica<\/p>\n

\n

\u00abentendida en el sentido din\u00e1mico\u00bb1<\/sup>.<\/p>\n<\/blockquote>\n

Es entonces cuando los mapas convencionales pierden su utilidad al configurar documentos acotados en torno a certezas geogr\u00e1ficas o ecol\u00f3gicas, reductos incapaces de ofrecer una respuesta a las preguntas del tiempo. Por eso algunos mapas nos advierten e interrogan desde la claridad de lo incontinente, desde el espacio de todo lo sucedido o desde la inmensidad de aquello que a\u00fan est\u00e1 por suceder:<\/p>\n

\n

Algo todav\u00eda ocurrir\u00e1, pero d\u00f3nde y qu\u00e9.<\/i><\/p>\n

Alguien saldr\u00e1 a tu encuentro, pero cu\u00e1ndo<\/i><\/p>\n

(y qui\u00e9n)<\/i><\/p>\n

Wislawa Szymborska<\/p>\n<\/blockquote>\n

Mapas en blanco.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doctor Arquitecto
\nMadrid. Diciembre 2014.
\nAutor de Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/div>\n

1<\/sup>. Alain Roger, Breve Tratado del Paisaje<\/a>, Madrid, Gallimard, 2007, p\u00e1g. 13.[:gl]

\"Lewis<\/a>
Lewis Carroll, 1832\u20131898. \u201cOcean Chart.\u201d Printed map, 13 \u00d7 8.2 cm | libweb5.princeton.edu<\/a><\/span><\/figcaption><\/figure><\/p>\n

En 1876 public\u00e1base por primeira vez \u00abThe Hunting of the Snark<\/a>\u00ab, un poema de Lewis Carroll<\/a> con ilustraci\u00f3ns de Henry Holyday<\/a>. Entre unha serie de debuxos cargados de tinta, aparece como unha revelaci\u00f3n a carta de navegaci\u00f3n \u00abOcean Chart\u00bb, unha sorte de mapa<\/a> que incl\u00fae as orientaci\u00f3ns preceptivas ou a escala, pero sen informaci\u00f3n visible<\/em> no seu interior: sen vestixios de terra, sen marcas nin sinais, sen coordenadas terrestres, sen referencias. Tan s\u00f3 o mar.<\/p>\n

Respectado o formato convencional, pero suprimidos os signos de fondo, o mapa conv\u00e9rtese nun verdadeiro instrumento fenomenol\u00f3gico: nel at\u00f3pase a ondada das tormentas, a viaxe saltar\u00edn dos golfi\u00f1os, a batalla naval dos nosos antepasados, o voo migratorio das aves, o fondo mari\u00f1o do abismo virxiliano<\/em>, ou o reflexo das nubes na auga. En palabras de Fernando Pessoa<\/p>\n

\u00ab\u00c9 moi dif\u00edcil ver s\u00f3 o que \u00e9 visible\u00bb.<\/em><\/p><\/blockquote>\n

Coma se as paisaxes non puidesen explicarse tan s\u00f3 pola s\u00faa realidade f\u00edsica, sen\u00f3n pola s\u00faa condici\u00f3n cambiante, a s\u00faa metamorfose, a s\u00faa metaf\u00edsica<\/p>\n

\n

\u00abentendida no sentido din\u00e1mico\u00bb1<\/sup>.<\/p>\n<\/blockquote>\n

\u00c9 ent\u00f3n cando os mapas convencionais perden a s\u00faa utilidade ao configurar documentos acoutados ao redor de certezas xeogr\u00e1ficas ou ecol\u00f3xicas, redutos incapaces de ofrecer unha resposta \u00e1s preguntas do tempo. Por iso alg\u00fans mapas adv\u00edrtennos e interrogan desde a claridade do incontinente, desde o espazo de todo o sucedido ou desde a inmensidade daquilo que a\u00ednda est\u00e1 por suceder:<\/p>\n

Algo a\u00ednda ocorrer\u00e1, pero onde e que.
\nAlgu\u00e9n sair\u00e1 ao teu encontro, pero cando
\n(e quen)<\/p>\n

Wislawa Szymborska<\/div>\n<\/blockquote>\n
Mapas en branco.<\/div>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doutor Arquitecto
\nMadrid. Decembro 2014.
\nAutor de Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/div>\n

1<\/sup>. Alain Roger, Breve Tratado del Paisaje<\/a>, Madrid, Gallimard, 2007, p\u00e1x. 13.[:en]

\"Lewis<\/a>
Lewis Carroll, 1832\u20131898. \u201cOcean Chart.\u201d Printed map, 13 \u00d7 8.2 cm | libweb5.princeton.edu<\/a><\/span><\/figcaption><\/figure><\/p>\n

In 1876 it was publishing for the first time \u00abThe Hunting of the Snark<\/a>\u00ab, Lewis Carroll<\/a>‘s poem with Henry Holyday<\/a>‘s illustrations. Between a series of drawings loaded with ink, there appears as a revelation the chart \u00abOcean Chart\u00bb, a luck of map<\/a> that includes the obligatory orientations or the scale, but without visible<\/em> information in his interior: without vestiges of land, without brands or signs, without terrestrial coordinates, without references. Only the sea.<\/p>\n

Respected the conventional format, but suppressed the signs of bottom, the map turns into a real instrument fenomenol\u00f3gico: in him one finds the surge of the storms, the trip dancer of the dolphins, the naval battle of our forbears, the migratory flight of the birds, the sea bed of the abyss virgiliano, or the reflection of the clouds in the water. In Fernando Pessoa’s words<\/p>\n

\n

\u00abIt is very difficult to see only what is visible\u00bb.<\/em><\/p>\n<\/blockquote>\n

As if the landscapes could not explain only for his physical reality, but for his changeable condition, his metamorphosis, his metaphysics<\/p>\n

\n

\u00abunderstood with the dynamic sense\u00bb1<\/sup>.<\/p>\n<\/blockquote>\n

It is at the time when the conventional maps lose his usefulness on having formed documents annotated concerning geographical or ecological certainties, redoubts unable to offer a response to the questions of the time. Because of it some maps warn and interrogate us from the clarity of the incontinent thing, from the space of everything happened or from the immensity of that one that still is for happening:<\/p>\n

Something still will happen, but where and what.
\nSomeone will go out to your meeting, but when
\n(and who)<\/p>\n

Wislawa Szymborska<\/div>\n<\/blockquote>\n
Mapas en blanco.<\/div>\n

Miguel \u00c1ngel D\u00edaz Camacho. PhD Architect
\nMadrid. December 2014.
\nAuthor of Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/div>\n

1<\/sup>. Alain Roger, Breve Tratado del Paisaje<\/a>, Madrid, Gallimard, 2007, pag. 13.[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] En 1876 se publicaba por primera vez \u00abThe Hunting of the Snark\u00ab, un poema de Lewis Carroll con ilustraciones de Henry Holyday. Entre una serie de dibujos cargados de tinta, aparece como una revelaci\u00f3n la carta de navegaci\u00f3n \u00abOcean Chart\u00bb, una suerte de mapa que incluye las orientaciones preceptivas o la escala, pero sin […]<\/p>\n","protected":false},"author":5,"featured_media":58846,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[12282,7889,260,1815,510,7183,630,12280,668,698,12281,6465,1278,2048,1289],"class_list":["post-58844","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alain-roger","tag-arquitectura-ecologica","tag-cartografia","tag-ecologia","tag-espacio","tag-fernando-pessoa","tag-geografia","tag-henry-holyday","tag-historia","tag-ilustracion","tag-lewis-carroll","tag-miguel-angel-diaz-camacho","tag-teoria","tag-teoria-e-historia","tag-tiempo"],"yoast_head":"\n[:es]Mapas en blanco | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Mapas en branco | Miguel \u00c1ngel D\u00edaz Camacho[:en]Maps in white | Miguel \u00c1ngel D\u00edaz Camacho[:] - 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