{"id":62523,"date":"2016-11-22T00:54:51","date_gmt":"2016-11-21T23:54:51","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=62523"},"modified":"2016-11-14T17:28:26","modified_gmt":"2016-11-14T16:28:26","slug":"fetsac-17-trashumancias","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/fetsac-17-trashumancias\/","title":{"rendered":"fetsac 17: Trashumancias"},"content":{"rendered":"

[:es]<\/p>\n

\"fetsac-call-for-papers-2017\"<\/p>\n

\n

We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides — pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. <\/em><\/p>\n

\u201cNo one sees the barn,\u201d he said finally. <\/em><\/p>\n

A long silence followed. <\/em><\/p>\n<\/blockquote>\n

D\u00eda tras d\u00eda, semana tras semana, nuevos cruceros, aviones, trenes y autobuses llegan a nuestros puertos, aeropuertos y estaciones cargados de viajeros, de turistas, de gente. Con ellos nace y se desarrolla una nueva ciudad. La de los vecinos muta en una nueva fachada que se percibe ajena a los que la habitan, ajena a la realidad de la vida y las rutinas diarias. \u00bfCu\u00e1l es la ciudad nueva que se construye? \u00bfQu\u00e9 ciudad conocen realmente estos humanos trashumantes durante su breve aunque intensa estancia? \u00bfEs la versi\u00f3n de folleto tur\u00edstico de nuestras ciudades una distorsi\u00f3n intencionada de la realidad cotidiana? \u00bfCu\u00e1l es el prop\u00f3sito de la repetici\u00f3n autom\u00e1tica de la foto tipo? \u00bfNos encontramos inmersos en una sociedad que viaja por el placer de conocer o por el ansia de aumentar su presencia en las redes sociales? \u00bfSe han convertido el like en el medidor actual de la popularidad y el palo de selfie<\/em> en una extensi\u00f3n de nuestra vanidad?<\/p>\n

D\u00eda tras d\u00eda, semana tras semana, micronaciones soterran bajo sus pies a las ciudades con el pretexto de inmortalizar sus iconos, s\u00f3lo interrumpiendo su marcha en un breve lapso para consumir, prefabricados, preparados y preanunciados, los productos aut\u00f3ctonos; buscando un local en el que se encuentren como en casa. Un local gen\u00e9rico donde la calidez de la madera y lo desenfadado de una est\u00e9tica industrial se mezclen, creando una imagen as\u00e9ptica y contaminante que se ha contagiado por todas las esquinas del globo.<\/p>\n

La FETSAC17<\/strong> tiene como prop\u00f3sito analizar la ciudad a trav\u00e9s del impacto de las masas de trashumantes sobre ella. La transformaci\u00f3n de los espacios en cuesti\u00f3n de minutos por la invasi\u00f3n, o la preparaci\u00f3n y estandarizaci\u00f3n de esos lugares, listos para absorber a los grandes grupos de turistas. El turismo de masas est\u00e1 modificando las ciudades en las que habitamos, llegando en ocasiones a convertirlas en grandes centros de ocio y haci\u00e9ndolas perder su significado primitivo. Las plataformas de econom\u00eda compartida han convertido lo hogare\u00f1o en un bien productivo que hace disponer a cada viajero de la oportunidad de sentirse como en su propia casa. Para ello disponen de un sistema de artificio asesorado por departamentos de dise\u00f1o, asegurando que la misma est\u00e9tica se reproduce en todas las latitudes. Este contexto de globalizaci\u00f3n creciente se impone a todo lo discordante, estableciendo unas reglas de juego que est\u00e1n peligrosamente cerca de asumirse como las \u00fanicas v\u00e1lidas. La repetici\u00f3n en masa es contagiosa y margina a quien pretende desviarse del, subliminalmente, canon establecido.<\/p>\n

Ante esta situaci\u00f3n, donde la identidad de la ciudad se diluye en cada una de sus escalas, desde la FETSAC<\/strong> abrimos esta llamada no s\u00f3lo a participar sino tambi\u00e9n a reflexionar, con el fin de convertir nuestra escuela en un crucero que a trav\u00e9s de sus diferentes escalas nos permita conocer otros puntos de vista acerca del turismo, la psicogeograf\u00eda, la ciudad gen\u00e9rica y sus consecuencias en la transformaci\u00f3n a corto o largo plazo de las ciudades. Queremos forzarnos a que cada uno se pregunte qu\u00e9 consecuencias puede llegar a tener la explosi\u00f3n de la burbuja tur\u00edstica y el low cost.<\/em><\/p>\n

Un a\u00f1o m\u00e1s dejamos, entonces, abierto un periodo de recepci\u00f3n de propuestas de conferencia y\/o actividad puntual, del 14 de noviembre al 31 de diciembre de 2016<\/strong>. El festival tendr\u00e1 lugar en A Coru\u00f1a, ciudad escala de trasatl\u00e1nticos, del 3 al 6 de abril de 2017.<\/strong><\/p>\n

Bases completas y m\u00e1s informaci\u00f3n en: fetsac.tumblr.com<\/a> o fetsac@gmail.com<\/p>\n

\n

\u00abOnce you’ve seen the signs about the barn, it becomes impossible to see the barn.\u00bb<\/em><\/p>\n

He fell silent once more. People with cameras left the elevated site, replaced at once by others. <\/em><\/p>\n

\u00abWe’re not here to capture an image, we’re here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies.\u00bb <\/em><\/p>\n

\u00a0There was an extended silence. The man in the booth sold postcards and slides.<\/em><\/p>\n

\u00abBeing here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We’ve agreed to be part of a collective perception. This literally colors our vision. A religious experience in a way, like all tourism.\u00bb <\/em><\/p>\n

Another silence ensued.<\/em><\/p>\n

\u00abThey are taking pictures of taking pictures,\u00bb he said. <\/em><\/p>\n

He did not speak for a while. We listened to the incessant clicking of shutter release buttons, the rustling crank of levers that advanced the film<\/em><\/p>\n

\u00abWhat was the barn like before it was photographed?\u00bb he said. \u00abWhat did it look like, how was it different from other barns, how was it similar to other barns?<\/em><\/p>\n

\u2015<\/strong> Don DeLillo, White Noise<\/strong><\/p>\n<\/blockquote>\n

[:gl]<\/p>\n

\"fetsac-call-for-papers-2017\"<\/p>\n

\n

We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides — pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. <\/em><\/p>\n

\u201cNo one sees the barn,\u201d he said finally. <\/em><\/p>\n

A long silence followed. <\/em><\/p>\n<\/blockquote>\n

D\u00eda tras d\u00eda, semana tras semana, novos cruceiros, avi\u00f3ns, trens e autobuses chegan aos nosos portos, aeroportos e estaci\u00f3ns cheos de viaxeiros, de turistas, de xente. Con eles nace e desenv\u00f3lvese unha nova cidade. A dos veci\u00f1os muda nunha nova fachada que se percibe allea aos que a habitan, allea \u00e1 realidade da vida e \u00e1s rutinas diarias. Cal \u00e9 a cidade nova que se constr\u00fae? Que cidade co\u00f1ecen realmente estes humanos transhumantes durante a s\u00faa breve, malia que intensa, estancia? \u00c9 a versi\u00f3n de folleto tur\u00edstico das nosas cidades unha distorsi\u00f3n intencionada da realidade coti\u00e1? Cal \u00e9 o prop\u00f3sito da repetici\u00f3n autom\u00e1tica da foto tipo? Atop\u00e1monos inmersos nunha sociedade que viaxa polo pracer de co\u00f1ecer ou pola ansia de aumentar a s\u00faa presenza nas redes sociais? Convert\u00e9ronse o like en medidor actual da popularidade e o pau selfie<\/em> nunha extensi\u00f3n da nosa vaidade?<\/p>\n

D\u00eda tras d\u00eda, semana tras semana, micronaci\u00f3ns soterran baixo os seus p\u00e9s \u00e1s cidades co pretexto de inmortalizar as s\u00faas iconas, s\u00f3 interrompendo a s\u00faa marcha nun breve lapso para consumir, prefabricados, preparados e preanunciados, os produtos aut\u00f3ctonos; buscando un local no que se atopen coma na casa. Un local xen\u00e9rico onde o c\u00e1lido da madeira e o desenfadado dunha est\u00e9tica industrial se mesturen, creando unha imaxe as\u00e9ptica e contaminante que se contaxiou por todas as esquinas do globo.<\/p>\n

A FETSAC17<\/strong> ten como prop\u00f3sito analizar a cidade a trav\u00e9s do impacto das masas de transhumantes sobre ela. A transformaci\u00f3n dos espazos en cuesti\u00f3n de minutos pola invasi\u00f3n, ou a preparaci\u00f3n e estandarizaci\u00f3n deses lugares, listos para absorber aos grandes grupos de turistas. O turismo de masas est\u00e1 modificando as cidades nas que habitamos, chegando en ocasi\u00f3ns a convertelas en grandes centros de ocio e fac\u00e9ndolles perder o seu significado primitivo. As plataformas de econom\u00eda compartida converteron o propio do fogar nun ben produtivo que fai dispor a cada viaxeiro da oportunidade de se sentir coma na s\u00faa propia casa. Para isto dispo\u00f1en dun sistema de artificio asesorado por departamentos de dese\u00f1o, asegurando que a mesma est\u00e9tica se reproduce en t\u00f3dalas latitudes. Este contexto de globalizaci\u00f3n crecente imponse a todo o discordante, establecendo unhas regras de xogo que est\u00e1n perigosamente preto de asumirse como as \u00fanicas v\u00e1lidas. A repetici\u00f3n en masa \u00e9 contaxiosa e marxina a quen pretenda desviarse do, subliminarmente, canon establecido.<\/p>\n

Ante esta situaci\u00f3n, onde a identidade da cidade se dil\u00fae en cada unha das s\u00faas escalas, dende a FETSAC<\/strong> abrimos esta chamada non s\u00f3 a participar sen\u00f3n tam\u00e9n a reflexionar, co fin de converter a nosa escola nun cruceiro que a trav\u00e9s das s\u00faas diferentes escalas nos permita co\u00f1ecer outros puntos de vista acerca do turismo, a psicoxeograf\u00eda, a cidade xen\u00e9rica e as s\u00faas consecuencias na transformaci\u00f3n a curto e longo prazo das cidades. Quer\u00e9monos forzar a que cada un se pregunte que consecuencias pode chegar a ter a explosi\u00f3n da burbulla tur\u00edstica e o low cost<\/em>.<\/p>\n

Un ano m\u00e1is deixamos, ent\u00f3n, aberto un per\u00edodo de recepci\u00f3n de propostas de conferencia e \/ou actividade puntual, do 14 de novembro ao 31 de decembro de 2016<\/strong>. O festival ter\u00e1 lugar na Coru\u00f1a, cidade escala de transatl\u00e1nticos, do 3 ao 6 de abril de 2017.<\/strong><\/p>\n

Bases completas e m\u00e1is informaci\u00f3n en: fetsac.tumblr.com<\/a> ou fetsac@gmail.com<\/p>\n

\n

\u00abOnce you’ve seen the signs about the barn, it becomes impossible to see the barn.\u00bb<\/em><\/p>\n

He fell silent once more. People with cameras left the elevated site, replaced at once by others. <\/em><\/p>\n

\u00abWe’re not here to capture an image, we’re here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies.\u00bb <\/em><\/p>\n

\u00a0There was an extended silence. The man in the booth sold postcards and slides.<\/em><\/p>\n

\u00abBeing here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We’ve agreed to be part of a collective perception. This literally colors our vision. A religious experience in a way, like all tourism.\u00bb <\/em><\/p>\n

Another silence ensued.<\/em><\/p>\n

\u00abThey are taking pictures of taking pictures,\u00bb he said. <\/em><\/p>\n

He did not speak for a while. We listened to the incessant clicking of shutter release buttons, the rustling crank of levers that advanced the film<\/em><\/p>\n

\u00abWhat was the barn like before it was photographed?\u00bb he said. \u00abWhat did it look like, how was it different from other barns, how was it similar to other barns?<\/em><\/p>\n

\u2015<\/strong> Don DeLillo, White Noise<\/strong><\/p>\n<\/blockquote>\n

 [:en]<\/p>\n

\"fetsac-call-for-papers-2017\"<\/p>\n

\n

We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides — pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. <\/em><\/p>\n

\u201cNo one sees the barn,\u201d he said finally. <\/em><\/p>\n

A long silence followed. <\/em><\/p>\n<\/blockquote>\n

Day after day, week after week, new cruisers, planes, trains and buses arrive to our ports, airports and stations loaded with travelers, tourists, people. With them a new city is born and developed. The neighbours one mutates into a new fa\u00e7ade which is perceived outward from those who inhabit it, from the reality of life and daily routines. Which is the new city that is being built? What city do those transhumant humans actually get to know during their brief but intense stay? Is the leaflet version of our cities an intentional distortion of everyday reality? What is the purpose of the automatic repetition of the type photo? Are we immersed into a society that travels for the pleasure of knowing or for the eagerness to increase their presence into social networks? Have likes<\/em> turned into the current meter of popularity and selfie sticks<\/em> into an extension of our own vanity?<\/p>\n

Day after day, week after week, micronations bury cities beneath their feet, under the pretext of immortalizing their icons, only interrupting their march for a short period of time to consume pre-manufactured, prepared and pre-announced native products; looking for a place where they can feel like home. A generic place where the warmth of the wood and the carefree look of an industrial aesthetic are mixed, creating an aseptic and contaminating image that has already infected every corner of the globe.<\/p>\n

FETSAC17<\/strong> aims to analyze the city through the impact of transhumant masses on it. The transformation of spaces in a matter of minutes by the invasion, or the preparation and standardization of those places, ready to absorb huge groups of tourists. Mass tourism is modifying the cities we live in, sometimes coming to turn them into large leisure centers, making them lose their primitive meaning. Shared economy platforms are turning the homelike into a productive good that gives each traveler the opportunity to feel as at home. In order to do this they have a whole system of artifice advised by design departments, ensuring the same aesthetics is reproduced in all latitudes. This context of increasing globalization is imposed on everything discordant, establishing game rules dangerously close to being assumed as the only valid ones. Mass repetition is contagious and it marginalizes all those who intend to deviate from the, subliminally, established canon.<\/p>\n

Facing this situation, where the identity of the city is diluted in each and every one of its scales, FETSAC<\/strong> opens this call, not only for papers but also to reflect, in order to turn our school into a cruiser that through its different stops allows us to know different points of view on tourism, psychogeography, the generic city and its consequences in the short or long term transformation of the cities. We want to force each of us to ask ourselves what consequences the explosion of the tourist bubble and low cost<\/em> can bring.<\/p>\n

One more year then, we open a period for proposals reception for lectures and\/or specific activities, from November the 14th<\/sup> to December the 31st<\/sup> 2016.<\/strong> The festival is going to take place in A Coru\u00f1a (Spain), a stop for transatlantic cruisers, from April the 3rd<\/sup> to the 6th<\/sup> 2017.<\/strong><\/p>\n

More info and rules on: fetsac.tumblr.com or fetsac@gmail.com<\/p>\n

More info and rules on: fetsac.tumblr.com<\/a> or fetsac@gmail.com<\/p>\n

\n

\u00abOnce you’ve seen the signs about the barn, it becomes impossible to see the barn.\u00bb<\/em><\/p>\n

He fell silent once more. People with cameras left the elevated site, replaced at once by others. <\/em><\/p>\n

\u00abWe’re not here to capture an image, we’re here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies.\u00bb <\/em><\/p>\n

\u00a0There was an extended silence. The man in the booth sold postcards and slides.<\/em><\/p>\n

\u00abBeing here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We’ve agreed to be part of a collective perception. This literally colors our vision. A religious experience in a way, like all tourism.\u00bb <\/em><\/p>\n

Another silence ensued.<\/em><\/p>\n

\u00abThey are taking pictures of taking pictures,\u00bb he said. <\/em><\/p>\n

He did not speak for a while. We listened to the incessant clicking of shutter release buttons, the rustling crank of levers that advanced the film<\/em><\/p>\n

\u00abWhat was the barn like before it was photographed?\u00bb he said. \u00abWhat did it look like, how was it different from other barns, how was it similar to other barns?<\/em><\/p>\n

\u2015<\/strong> Don DeLillo, White Noise<\/strong><\/p>\n<\/blockquote>\n

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

[:es] We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. 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