{"title":"The Temporal Cadavre Exquis. The Dark Side Of Diversity","authors":"Stefano Romano","doi":"10.37199/f40002405","DOIUrl":null,"url":null,"abstract":"We will address key questions concerning the development of our cities, in the specific case, Tirana, the capital of Albania, after the new worldwide scenario that come as a consequence of the pandemic. The questions that we will focuses connecting with the idea of diversity, addressing it from the symbolic point of view of the relation between art and architecture, and how this relation can affect resilience and vision of the future. This because we have to treat the space the same way we are doing with time, as a fow. Space and time also belong to this class of quantities. Past, present, and future, forms a continuous whole. Space, likewise, is a continuous quantity. With the fall of the communist regime in 1991, Albania has started to favor market logics and the recognition of property rights. Indeed, what followed such revolutionary political transition was a rapid privatization process and, according to many, an apparently chaotic urban development. The 2020 pandemic highlight the need for a change in the vision of our cities and the way they must develop. In the last months, many to underline new possible visions for our cities have used the idea of utopian concepts of the ideal city, or that of resilience cities. “Utopia” comes\nfrom Greek: οὐ (“not”) and τόπος (“place”) which translates as “no-place” and literally means any non-existent society. Sir Thomas Moore coined the term in 1516 when he uses to describe an island where the structure of the society and the equilibrium between men and nature was perfectly balanced. In standard usage, the word's meaning has shifted and now usually describes a non-existent society considerably better than contemporary society. Humans needs these kind of places because mythical space is an intellectual construct and helps us defne our real space. We will analyze how the idea of utopia relates to art and how art can be seen as a way to faces contemporary problematics through its close relation to the space of architecture.","PeriodicalId":340805,"journal":{"name":"Health and Wellbeing in the Post-Pandemic City","volume":"2047 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Health and Wellbeing in the Post-Pandemic City","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.37199/f40002405","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
We will address key questions concerning the development of our cities, in the specific case, Tirana, the capital of Albania, after the new worldwide scenario that come as a consequence of the pandemic. The questions that we will focuses connecting with the idea of diversity, addressing it from the symbolic point of view of the relation between art and architecture, and how this relation can affect resilience and vision of the future. This because we have to treat the space the same way we are doing with time, as a fow. Space and time also belong to this class of quantities. Past, present, and future, forms a continuous whole. Space, likewise, is a continuous quantity. With the fall of the communist regime in 1991, Albania has started to favor market logics and the recognition of property rights. Indeed, what followed such revolutionary political transition was a rapid privatization process and, according to many, an apparently chaotic urban development. The 2020 pandemic highlight the need for a change in the vision of our cities and the way they must develop. In the last months, many to underline new possible visions for our cities have used the idea of utopian concepts of the ideal city, or that of resilience cities. “Utopia” comes
from Greek: οὐ (“not”) and τόπος (“place”) which translates as “no-place” and literally means any non-existent society. Sir Thomas Moore coined the term in 1516 when he uses to describe an island where the structure of the society and the equilibrium between men and nature was perfectly balanced. In standard usage, the word's meaning has shifted and now usually describes a non-existent society considerably better than contemporary society. Humans needs these kind of places because mythical space is an intellectual construct and helps us defne our real space. We will analyze how the idea of utopia relates to art and how art can be seen as a way to faces contemporary problematics through its close relation to the space of architecture.
我们将处理有关我们城市发展的关键问题,具体来说是阿尔巴尼亚首都地拉那,在这种流行病造成的新的世界局面之后。我们将关注的问题与多样性的概念联系在一起,从艺术和建筑之间关系的象征性角度来解决这个问题,以及这种关系如何影响弹性和未来的愿景。这是因为我们必须像对待时间一样对待空间。空间和时间也属于这类量。过去、现在和未来构成了一个连续的整体。同样,空间也是一个连续的量。随着1991年共产主义政权的垮台,阿尔巴尼亚开始倾向于市场逻辑和承认财产权。事实上,这种革命性的政治过渡之后是一个迅速的私有化进程,根据许多人的说法,显然是一个混乱的城市发展。2020年的大流行突出表明,有必要改变我们对城市的看法和城市发展的方式。在过去的几个月里,许多人强调了我们城市的新可能愿景,他们使用了理想城市的乌托邦概念或弹性城市的概念。“乌托邦”来自希腊语:ο ο(“不”)和τ ο πος(“地方”),翻译过来是“没有地方”,字面意思是任何不存在的社会。托马斯·摩尔爵士在1516年创造了这个词,当时他用这个词来形容一个社会结构以及人与自然之间的平衡完美平衡的岛屿。在标准用法中,这个词的意思已经发生了变化,现在通常比当代社会更好地描述一个不存在的社会。人类需要这样的地方,因为神话空间是一种智力建构,帮助我们定义我们的真实空间。我们将分析乌托邦的概念如何与艺术相关,以及艺术如何通过与建筑空间的密切关系被视为面对当代问题的一种方式。