{"id":58858,"date":"2016-03-07T05:54:14","date_gmt":"2016-03-07T04:54:14","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=58858"},"modified":"2020-03-30T09:48:33","modified_gmt":"2020-03-30T07:48:33","slug":"destruccion-de-barcelona-wayward-wandering","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/destruccion-de-barcelona-wayward-wandering\/","title":{"rendered":"[:es]Destrucci\u00f3n de Barcelona | Wayward Wandering[:gl]Destrucci\u00f3n de Barcelona | Wayward Wandering[:en]Destruction of Barcelona | Wayward Wandering.[:]"},"content":{"rendered":"

[:es]

\"Biblioteca<\/a>
Biblioteca Nacional Vije\u0107nica de Sarajevo, 1995 | Fuente: bosniangenocide<\/span><\/figcaption><\/figure><\/p>\n

La destrucci\u00f3n de un edificio hist\u00f3rico, de un lugar en que se ha transmitido el saber de un ars, de una \u03c4\u03ad\u03c7\u03bd\u03b7, en que un artesano ha vivido y operado ignaro de la existencia de la historia, la industria, el scientific management<\/em>, <\/em>alejado de una leyes econ\u00f3micas que la prostituci\u00f3n del lenguaje insiste en llamar democr\u00e1ticas, un lugar en que el tiempo se ha depositado oscureciendo los d\u00edas, es comparable a la destrucci\u00f3n de un libro.<\/p>\n

Como dice Fernando Ba\u00e9z<\/a> en su excepcional Historia universal de la destrucci\u00f3n de libros<\/em><\/a>, la destrucci\u00f3n de los libros –que ha peri\u00f3dicamente ocurrido y sigue ocurriendo, incluyendo entre los ordenantes de la destrucci\u00f3n a personas de la cultura como Ren\u00e9 Descartes<\/a>, David Hume<\/a>, Martin Heidegger<\/a>, Vladimir Nabokov<\/a> (quien quem\u00f3 el Quijote ante m\u00e1s de seiscientos alumnos) –representa la aniquilaci\u00f3n de la memoria, del patrimonio de ideas, la destrucci\u00f3n de lo que se considera una amenaza a un valor superior, perpetrada a trav\u00e9s de un medio considerado sagrado.<\/p>\n

El principal medio usado para la destrucci\u00f3n era el fuego, sagrado porque fuente de vida y muerte, con el que el hombre juega a ser dios, como aquel 14 de abril de 2003 en que se quemaron un mill\u00f3n de libros en el incendio de la Biblioteca Nacional de Bagdad, tras la toma de la ciudad por las tropas estadounidenses. Los d\u00edas siguientes ardieron el Archivo Nacional, la Biblioteca de la Universidad de Bagdad y decenas de bibliotecas universitarias del pa\u00eds. Las obras arqueol\u00f3gicas fueron saqueadas y transportadas a Londres, Roma, Berl\u00edn y Nueva York, para satisfacer a los coleccionistas privados, como siempre ha ocurrido a lo largo de la historia. Hechos similares ocurrieron en 1995 en Sarajevo, cuando los Serbios quemaron la Biblioteca Nacional presente en la ciudad destruyendo dos millones de libros. Los medios de destrucci\u00f3n –como el fuego, el agua, los terremotos, las tormentas– eran simbolizados con la espada, considerada un atributo divino.<\/p>\n

En el caso contempor\u00e1neo de la destrucci\u00f3n del patrimonio cultural representado por los edificios y los comercios hist\u00f3ricos de Barcelona, el medio de destrucci\u00f3n es abstracto –tan abstracto como puede serlo el lenguaje jur\u00eddico– concretamente la ley de arrendamientos urbanos (LAU) que, promulgada en 1994, abri\u00f3 el camino al elemento que rige la econom\u00eda contempor\u00e1nea: la especulaci\u00f3n, en su acepci\u00f3n que nada tiene que ver con la reflexi\u00f3n filos\u00f3fica. El mercado financiero permea la metr\u00f3poli, la envuelve, la destruye. Como en un cuadro de Grosz<\/a>, los inversores asaltan la ciudad<\/a> con la voracidad que s\u00f3lo el dinero y las ganas de conquista y destrucci\u00f3n pueden producir, fielmente asistidos por bufetes de abogados de renombre. Multinacionales –sin rostro, sin alma, abstractas y con privilegios fiscales– representan la indiferencia de los objetos transformados en mercanc\u00edas, y son la transposici\u00f3n a nuestra \u00e9poca de los c\u00ednicos hombres de negocios del Berl\u00edn de los a\u00f1os veinte de los cuadros de Grosz<\/a>.<\/p>\n

Un medio considerado sagrado, la ley econ\u00f3mica –econom\u00eda que no tiene ninguna relaci\u00f3n con la justa distribuci\u00f3n de los recursos naturales y culturales –anula la memoria, el patrimonio de ideas –patrimonio cuya etimolog\u00eda es el ‘hacer saber’, ‘hacer recordar’– destruyendo lo que se considera una amenaza a un valor superior, la especulaci\u00f3n de los inversores.<\/p>\n

La memoria, el patrimonio de ideas que se quiere destruir es el saber hacer –el ars<\/em>— del artesano, aut\u00f3nomo e independiente de la industria y los poderes, que decide y dispone de s\u00ed mismo, sustray\u00e9ndose a la sumisi\u00f3n que requiere el sistema de producci\u00f3n industrial. Libreros, sastres, luthiers, pasteleros, panaderos, tintoreros, fabricantes de juguetes creativos, carpinteros, cereros, herbolarios, cuyo saber amenaza, cuya presencia deja abierta una posibilidad otra a la producci\u00f3n taylorista, al scientific management <\/em>que precisa, para sobrevivir, un equipo de bur\u00f3cratas al servicio de ideas totalitarias con la funci\u00f3n de destruir el pasado para invalidar cualquier cr\u00edtica, como George Orwell<\/a> profetiz\u00f3 hace ochenta a\u00f1os en su 1984<\/em><\/a>.<\/p>\n

Una destrucci\u00f3n sin fuego, silente, como un ahogamiento cuyo deus ex machina <\/em>es un dios invisible que hace uso de un instrumento de destrucci\u00f3n sagrado, la ley, como una espada moderna. El patrimonio, la acumulaci\u00f3n de conocimientos, eventos y saberes materializados en las bodegas, tiendas, talleres y comercios hist\u00f3ricos de la ciudad es la amenaza que tiene que desaparecer, el libro que hay que quemar, el patrimonio vivo de una cultura entera. Un dios invisible que entra en todos los lugares y los anula, llev\u00e1ndolos a la esterilidad y anestesia de la cadena de montaje. Un dios invisible que representa el \u00fanico elemento que permea nuestra polis, el \u00fanico lenguaje que se aprende desde los primeros momentos de la escuela obligatoria. Lenguaje que nada tiene que ver con la comunicaci\u00f3n ni con la educaci\u00f3n –el ex-d\u016bcere <\/em>liberatorio, liberador, libertario–. Sorprenderse por la destrucci\u00f3n de los comercios y talleres antiguos de Barcelona es hipocres\u00eda pura, hasta que no se desmonte pieza por pieza el \u00e1mbito educativo y se vuelva (vaya) hacia una verdadera capacidad de cuestionarse, antes de cuestionar. Los lugares, su creaci\u00f3n, su destrucci\u00f3n, son la proyecci\u00f3n de ideas y formae mentis<\/em> que solo un largo y complejo (sin ser complicado) proceso de revoluci\u00f3n personal puede cambiar, liberar, ex-d\u016bcere<\/em>.<\/p>\n

El mismo operar es evidente en la manera de intervenir en el \u00e1mbito arquitect\u00f3nico y urbano. Edificios hist\u00f3ricos, cargados de memoria, eventos, manos que tocan y voces que gritan y gozan, son restaurados mediante su vaciado, la destrucci\u00f3n de sus v\u00edsceras para dejar la piel, m\u00e1scara grotesca de lo que fueron e imagen fotogr\u00e1fica perfecta para la venta de un simulacro de memoria por parte de las empresas constructoras, en connivencia con los arquitectos, los pol\u00edticos y los bufetes de abogados de renombre como, una vez m\u00e1s, en un cuadro de Grosz.<\/p>\n

Los edificios y los comercios hist\u00f3ricos de Barcelona que se destruyen mediante la ley son libros que arden, una amenaza que representa otra posibilidad, otra manera de vivir, otra manera de pensar.<\/p>\n

\"Antigua<\/a>
Antigua pasteler\u00eda Colmena, Barcelona | Fuente: pastisserialacolmena.com<\/a><\/span><\/figcaption><\/figure>\n

Wayward Wandering
\nAutor del blog Perspectivas An\u00f3malas<\/em><\/span>
\nBarcelona, Febrero 2016[:gl]

\"Biblioteca<\/a>
Biblioteca Nacional Vije\u0107nica de Saraxevo, 1995 | Fonte: bosniangenocide<\/span><\/figcaption><\/figure><\/p>\n

A destruci\u00f3n dun edificio hist\u00f3rico, dun lugar en que se transmitiu o saber dun ars, dunha \u03c4\u03ad\u03c7\u03bd\u03b7, en que un artes\u00e1n viviu e operou ignaro da existencia da historia, a industria, o scientific management<\/em>, afastado dunha leis econ\u00f3micas que a prostituci\u00f3n da linguaxe insiste en chamar democr\u00e1ticas, un lugar en que o tempo se ha depositado escurecendo os d\u00edas, \u00e9 comparable \u00e1 destruci\u00f3n dun libro.<\/p>\n

Como di Fernando Ba\u00e9z<\/a> na s\u00faa excepcional Historia universal de la destrucci\u00f3n de libros<\/em><\/a>, a destruci\u00f3n dos libros –que ha periodicamente ocorrido e segue ocorrendo, inclu\u00edndo entre os ordenantes da destruci\u00f3n a persoas da cultura como Ren\u00e9 Descartes<\/a>, David Hume<\/a>, Martin Heidegger<\/a>, Vladimir Nabokov<\/a> (quen queimou o Quixote ante m\u00e1is de seiscentos alumnos) –representa a aniquilaci\u00f3n da memoria, do patrimonio de ideas, a destruci\u00f3n do que se considera unha ameaza a un valor superior, perpetrada a trav\u00e9s dun medio considerado sagrado.<\/p>\n

O principal medio usado para a destruci\u00f3n era o lume, sacro porque fonte de vida e morte, co que o home xoga a ser deus, como aquel 14 de abril de 2003 en que se queimaron un mill\u00f3n de libros no incendio da Biblioteca Nacional de Bagdad, tras a toma da cidade polas tropas estadounidenses. Os d\u00edas seguintes arderon o Arquivo Nacional, a Biblioteca da Universidade de Bagdad e decenas de bibliotecas universitarias do pa\u00eds. As obras arqueol\u00f3xicas foron saqueadas e transportadas a Londres, Roma, Berl\u00edn e Nova York, para satisfacer aos coleccionistas privados, como sempre ocorreu ao longo da historia. Feitos similares ocorreron en 1995 en Saraievo, cando os Serbios queimaron a Biblioteca Nacional presente na cidade destru\u00edndo dous mill\u00f3ns de libros. Os medios de destruci\u00f3n –como o lume, a auga, os terremotos, as tormentas– eran simbolizados coa espada, considerada un atributo divino.<\/p>\n

No caso contempor\u00e1neo da destruci\u00f3n do patrimonio cultural representado polos edificios e os comercios hist\u00f3ricos de Barcelona, o medio de destruci\u00f3n \u00e9 abstracto –tan abstracto como pode selo a linguaxe xur\u00eddica– concretamente a lei de arrendamentos urbanos (LAU) que, promulgada en 1994, abriu o cami\u00f1o ao elemento que rexe a econom\u00eda contempor\u00e1nea: a especulaci\u00f3n, na s\u00faa acepci\u00f3n que nada ten que ver coa reflexi\u00f3n filos\u00f3fica. O mercado financeiro permea a metr\u00f3pole, env\u00f3lvea, destr\u00faea. Como nun cadro de Grosz<\/a>, os investidores asaltan a cidade<\/a> coa voracidade que s\u00f3 o di\u00f1eiro e as ganas de conquista e destruci\u00f3n poden producir, fielmente asistidos por bufetes de avogados de renome. Multinacionais –sen rostro, sen alma, abstractas e con privilexios fiscais– representan a indiferenza dos obxectos transformados en mercador\u00edas, e son a transposici\u00f3n \u00e1 nosa \u00e9poca dos c\u00ednicos homes de negocios do Berl\u00edn dos anos vinte dos cadros de Grosz<\/a>.<\/p>\n

Un medio considerado sagrado, a lei econ\u00f3mica –econom\u00eda que non ten ningunha relaci\u00f3n coa xusta distribuci\u00f3n dos recursos naturais e culturais –anula a memoria, o patrimonio de ideas –patrimonio cuxa etimolox\u00eda \u00e9 o ‘facer saber’, ‘facer lembrar’– destru\u00edndo o que se considera unha ameaza a un valor superior, a especulaci\u00f3n dos investidores.<\/p>\n

A memoria, o patrimonio de ideas que se quere destru\u00edr \u00e9 o saber facer –o ars<\/em>— do artes\u00e1n, aut\u00f3nomo e independente da industria e os poderes, que decide e disp\u00f3n de si mesmo, subtra\u00e9ndose \u00e1 submisi\u00f3n que require o sistema de produci\u00f3n industrial. Libreiros, xastres, luthiers, pasteleiro, panadeiros, tintoreros, fabricantes de xoguetes creativos, carpinteiros, cereros, herbolarios, cuxo saber ameaza, cuxa presenza deixa aberta unha posibilidade outra \u00e1 produci\u00f3n taylorista, ao scientific management <\/em> que precisa, para sobrevivir, un equipo de bur\u00f3cratas ao servizo de ideas totalitarias coa funci\u00f3n de destru\u00edr o pasado para invalidar calquera cr\u00edtica, como George Orwell<\/a> profetizou fai oitenta anos no seu 1984<\/em><\/a>.<\/p>\n

Unha destruci\u00f3n sen lume, silente, como un ahogamiento cuxo deus ex machina<\/em> \u00e9 un deus invisible que fai uso dun instrumento de destruci\u00f3n sacro, a lei, como unha espada moderna. O patrimonio, a acumulaci\u00f3n de co\u00f1ecementos, eventos e saberes materializados nas adegas, tendas, talleres e comercios hist\u00f3ricos da cidade \u00e9 a ameaza que ten que desaparecer, o libro que hai que queimar, o patrimonio vivo dunha cultura enteira. Un deus invisible que entra en todos os lugares e an\u00falaos, lev\u00e1ndoos \u00e1 esterilidad e anestesia da cadea de montaxe. Un deus invisible que representa o \u00fanico elemento que permea nosa polis, a \u00fanica linguaxe que se aprende desde os primeiros momentos da escola obrigatoria. Linguaxe que nada ten que ver coa comunicaci\u00f3n nin coa educaci\u00f3n –o ex-d\u016bcere<\/em> liberatorio, liberador, libertario–. Sorprenderse pola destruci\u00f3n dos comercios e talleres antigos de Barcelona \u00e9 hipocris\u00eda pura, ata que non se desmonte peza por peza o \u00e1mbito educativo e v\u00f3lvase (vaia) cara a unha verdadeira capacidade de cuestionarse, antes de cuestionar. Os lugares, a s\u00faa creaci\u00f3n, a s\u00faa destruci\u00f3n, son a proxecci\u00f3n de ideas e formae mentis<\/em> que s\u00f3 un longo e complexo (sen ser complicado) proceso de revoluci\u00f3n persoal pode cambiar, liberar, ex-d\u016bcere<\/em>.<\/p>\n

O mesmo operar \u00e9 evidente na maneira de intervir no \u00e1mbito arquitect\u00f3nico e urbano. Edificios hist\u00f3ricos, cargados de memoria, eventos, mans que tocan e voces que gritan e gozan, son restaurados mediante o seu baleirado, a destruci\u00f3n das s\u00faas v\u00edsceras para deixar a pel, m\u00e1scara grotesca do que foron e imaxe fotogr\u00e1fica perfecta para a venda dun simulacro de memoria por parte das empresas construtoras, en conivencia cos arquitectos, os pol\u00edticos e os bufetes de avogados de renome como, unha vez m\u00e1is, nun cadro de Grosz.<\/p>\n

Os edificios e os comercios hist\u00f3ricos de Barcelona que se destr\u00faen mediante a lei son libros que arden, unha ameaza que representa outra posibilidade, outra maneira de vivir, outra maneira de pensar.<\/p>\n

\"Antigua<\/a>
Antiga pasteler\u00eda Colmena, Barcelona | Fonte: pastisserialacolmena.com<\/a><\/span><\/figcaption><\/figure>\n

Wayward Wandering
\nAutor do blogue Perspectivas An\u00f3malas<\/em><\/span>
\nBarcelona, Febreiro 2016[:en]

\"Biblioteca<\/a>
National library Vije\u0107nica of Sarajevo, 1995 | Source: bosniangenocide<\/span><\/figcaption><\/figure><\/p>\n

The destruction of a historical building, of a place in which it has been transmitted to know of an ars, of one \u03c4\u03ad\u03c7\u03bd\u03b7,, in that a craftsman has lived and operated on ignorantly of the existence of the history, the industry, the scientific management<\/em>,<\/em> removed from one economic laws that the prostitution of the language insists on calling democratic, a place in which the time has settled getting dark the days, it is comparable to the destruction of a book.<\/p>\n

As Fernando Ba\u00e9z<\/a> says in his exceptional universal History of the destruction of books<\/em><\/a>, the destruction of the books – that has happened from time to time and it continues happening, including between the advisers of the destruction persons of the culture as Ren\u00e9 Descartes<\/a>, David Hume<\/a>, Martin Heidegger<\/a>, Vladimir Nabokov<\/a> (the one who burned the Cuisse before more than six hundred pupils) – represents the annihilation of the memory, of the heritage of ideas, the destruction of what is considered to be a threat to a top value, perpetrated across a considered sacred way.<\/p>\n

The principal way used for the destruction was the fire, sacred because source of life and death, with that the man plays at being a god, as that April 14, 2003 in which a million books were burned in the fire of the National Library of Baghdad, after the capture of the city by the American troops. The following days burned the National File, the Library of the University of Baghdad and dozens of university libraries of the country. The archaeological works were plundered and transported to London, Rome, Berlin and New York, to satisfy the private collectors, since always it has happened along the history. Similar facts happened in 1995 in Sarajevo, when the Serbian ones burned the National present Library in the city destroying two millions of books. The means of destruction – as the fire, the water, the earthquakes, the storms – were symbolized by the sword, considered a divine attribute.<\/p>\n

In the contemporary case of the destruction of the cultural heritage represented by the buildings and the historical trades of Barcelona, the way of destruction is abstract – so abstract as it it can be the juridical language – concretely the law of urban leases (LAU) that, promulgated in 1994, opened the way for the element that governs the contemporary economy: the speculation, in his meaning that nothing has to see with the philosophical reflection. The financial market permea the metropolis, wraps it, destroys it. Since in a picture of Grosz<\/a>, the investors assault the city<\/a> with the voracity that only the money and the desires of conquest and destruction can produce, faithfully represented by attorneys’ bureaus of renown. Multinationals – without face, without soul, abstract and with tax concessions – they represent the nonchalance of the objects transformed into goods, and are the transposition to our epoch of the cynical businessmen of the Berlin of the twenties of Grosz<\/a>‘s pictures.<\/p>\n

A considered sacred way, the economic law – economy that does not have any relation with the just distribution of the natural and cultural resources – annuls the memory, the heritage of ideas – heritage which etymology is ‘to make be able’, ‘make remember’ – destroying what is considered to be a threat to a top value, the speculation of the investors.<\/p>\n

The memory, the heritage of ideas that wants to be destroyed is to be able to do – the ars<\/em> – of the craftsman, autonomous and independently from the industry and the power, which it decides and arranges of yes same, avoiding the submission that needs the system of industrial production. Booksellers, tailors, luthiers, pastrycooks, bakers, dyers, manufacturers of creative toys, carpenters, chandlers, herbalist’s, which to know threat, which presence makes a different possibility opened for the production taylorista, the scientific management<\/em> that is necessary, to survive, an equipment of bureaucrats to the service of totalitarian ideas with the function to destroy the past to invalidate any critique, as George Orwell<\/a> it prophesied eighty years ago in his 1984<\/em><\/a>.<\/p>\n

A destruction without fire, silente, as a drowning which deus ex-crane is an invisible god who uses a sacred instrument of destruction, the law, as a modern sword. The heritage, the accumulation of knowledge, events and saberes materialized in the warehouses, shops, workshops and historical trades of the city it is the threat that has to disappear, the book that it is necessary to be hot, the alive heritage of a culture informs. An invisible god who enters all the places and annuls them, taking them to the sterility and anesthesia of the assembly line. An invisible god who represents the only element that permea our cops, the only language that is learned from the first moments of the obligatory school. Language that nothing has to see either with the communication or with the education – ex-d\u016bcere<\/em> liberation, liberating, libertarian-. To be surprised for the destruction of the trades and ancient workshops of Barcelona is a pure hypocrisy, until piece does not dismantle for piece the educational area and turns (go) towards a real aptitude to question, before questioning. The places, his creation, his destruction, are the projection of ideas and formae mentis<\/em> that alone a length and complex (without there being complicated) process of personal revolution it can change, liberate, ex-d\u016bcere<\/em>..<\/p>\n

The same one to operate is evident in the way of intervening in the architectural and urban area. Historical buildings loaded with memory, events, hands that touch and voices that they shout and enjoy, are restored by means of his emptying, the destruction of his entrails to leave the skin, grotesque mask of what they were and photographic perfect image for the sale of a sham of memory on the part of the construction companies, in connivance with the architects, the politicians and the attorneys’ bureaus of renown like, once again, in Grosz’s picture.<\/p>\n

The buildings and the historical trades of Barcelona that are destroyed by means of the law are books that burn, a threat that represents another possibility, another way of living, another way of thinking.<\/p>\n

\"Antigua<\/a>
Old pastry shop Colmena, Barcelona | Source: pastisserialacolmena.com<\/a><\/span><\/figcaption><\/figure>\n

Wayward Wandering
\nAuthor of the blog Perspectivas An\u00f3malas<\/em><\/span>
\nBarcelona, February 2016[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] La destrucci\u00f3n de un edificio hist\u00f3rico, de un lugar en que se ha transmitido el saber de un ars, de una \u03c4\u03ad\u03c7\u03bd\u03b7, en que un artesano ha vivido y operado ignaro de la existencia de la historia, la industria, el scientific management, alejado de una leyes econ\u00f3micas que la prostituci\u00f3n del lenguaje insiste en […]<\/p>\n","protected":false},"author":46,"featured_media":58859,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[1512,1769,191,3179,208,8520,12289,12284,12287,12288,668,6964,3255,12463,2787,1004,12285,12286,12283],"class_list":["post-58858","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-en-la-memoria","tag-artesania","tag-barcelona","tag-berlin","tag-biblioteca","tag-david-hume","tag-eric-arthur-blair","tag-fernando-baez","tag-george-grosz","tag-george-orwell","tag-historia","tag-martin-heidegger","tag-memoria","tag-patrimonio","tag-patrimonio-cultural","tag-patrimonio-historico","tag-rene-descartes","tag-vladimir-nabokov","tag-wayward-wandering"],"yoast_head":"\n[:es]Destrucci\u00f3n de Barcelona | Wayward Wandering[:gl]Destrucci\u00f3n de Barcelona | Wayward Wandering[:en]Destruction of Barcelona | Wayward Wandering.[:] - 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