Due architetti, padre e figlio, protagonisti della cultura architettonica italiana del Novecento. Un committente illuminato, proprietario del cappellificio che esporta in tutto il mondo un cappello che sta per entrare nel mito, il “Borsalino”. Una città, Alessandria, che, a inizio secolo, è ancora priva di una serie di servizi fondamentali e che vedrà, grazie ai finanziamenti della famiglia Borsalino, la costruzione di una serie di infrastrutture tra cui un sanatorio antitubercolare. La memoria collettiva costruisce intorno alla fabbrica e al sanatorio (studiati e apprezzati dalla critica architettonica) affetti e timori: molto si deve alla fabbrica, ricordata come motore economico per l’intera città. La decisione, negli anni Ottanta, di demolire quasi totalmente il cappellificio suscita negli abitanti una violenta reazione: si vedono privati del proprio passato e la demolizione della ciminiera, fortemente danneggiata e con gravi problemi strutturali, ma simbolo riconosciuto della città, sarà letta come un sopruso delle ragioni economiche sulle questioni più affettive
{"title":"La storia degli edifici, la memoria dei luoghi. le architetture dei Gardella in Alessandria","authors":"A. Dameri","doi":"10.21789/24223158.1760","DOIUrl":"https://doi.org/10.21789/24223158.1760","url":null,"abstract":"Due architetti, padre e figlio, protagonisti della cultura architettonica italiana del Novecento. Un committente illuminato, proprietario del cappellificio che esporta in tutto il mondo un cappello che sta per entrare nel mito, il “Borsalino”. Una città, Alessandria, che, a inizio secolo, è ancora priva di una serie di servizi fondamentali e che vedrà, grazie ai finanziamenti della famiglia Borsalino, la costruzione di una serie di infrastrutture tra cui un sanatorio antitubercolare. La memoria collettiva costruisce intorno alla fabbrica e al sanatorio (studiati e apprezzati dalla critica architettonica) affetti e timori: molto si deve alla fabbrica, ricordata come motore economico per l’intera città. La decisione, negli anni Ottanta, di demolire quasi totalmente il cappellificio suscita negli abitanti una violenta reazione: si vedono privati del proprio passato e la demolizione della ciminiera, fortemente danneggiata e con gravi problemi strutturali, ma simbolo riconosciuto della città, sarà letta come un sopruso delle ragioni economiche sulle questioni più affettive","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43603440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este artículo quiere mostrar cómo la semiótica peirceana –de base lógico-triádica– puede ser un aporte importante para zanjar un problema que históricamente no había sido resuelto. Fue necesario el Nonágono Semiótico –derivado de la conocida clasificación de los signos de Charles S. Peirce–, para poder describir sistemáticamente una práctica usual como el uso lógico del color que ya fuera planteado como algo necesario a ser definido por Johan Wolfgang von Goethe en el siglo XIX.
在这篇文章中，peircean的符号学——以三元逻辑为基础——可以为解决一个历史上从未解决过的问题做出重要贡献。要求Nonágono符号—知名分类的衍生物(Charles s . Peirce迹象—在那里,为了有系统地惯常的做法描述逻辑使用颜色已经提出像东西需要被定义为约翰·沃尔夫冈·冯·歌德在十九世纪。
{"title":"Análisis lógico-semiótico de los usos del color","authors":"C. Guerri, William S. Huff","doi":"10.21789/24223158.1761","DOIUrl":"https://doi.org/10.21789/24223158.1761","url":null,"abstract":"Este artículo quiere mostrar cómo la semiótica peirceana –de base lógico-triádica– puede ser un aporte importante para zanjar un problema que históricamente no había sido resuelto. Fue necesario el Nonágono Semiótico –derivado de la conocida clasificación de los signos de Charles S. Peirce–, para poder describir sistemáticamente una práctica usual como el uso lógico del color que ya fuera planteado como algo necesario a ser definido por Johan Wolfgang von Goethe en el siglo XIX.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43203105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El 2020 se convirtió en el año de la conciencia sobre los conflictos globales: la crisis de salud pública, la emergencia climática y la inequidad social. Con la orden de quedarse en casa por la pandemia de Covid-19, la edición 07 se abrió camino. En ese contexto, los límites de los lenguajes verbales, visuales y visibles se han entretejido, debilitado y endurecido. Todo al mismo tiempo. Esta recopilación de investigaciones consolidadas y en curso retrata el año de su elaboración: convulso, reflexivo, de fronteras líquidas.
{"title":"Los lenguajes de los sentidos","authors":"A. Álvarez","doi":"10.21789/24223158.1722","DOIUrl":"https://doi.org/10.21789/24223158.1722","url":null,"abstract":"El 2020 se convirtió en el año de la conciencia sobre los conflictos globales: la crisis de salud pública, la emergencia climática y la inequidad social. Con la orden de quedarse en casa por la pandemia de Covid-19, la edición 07 se abrió camino. En ese contexto, los límites de los lenguajes verbales, visuales y visibles se han entretejido, debilitado y endurecido. Todo al mismo tiempo. Esta recopilación de investigaciones consolidadas y en curso retrata el año de su elaboración: convulso, reflexivo, de fronteras líquidas.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42798211","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper proposes a semiotic approach to Internet memes, a discursive domain that, although it represents a key and growing form of literacy, has so far been largely ignored by semiotics. Since the early 2000s, „Internet meme‟ has referred to a wide range of culturally shared pieces of media circulating over the Internet, such as catchphrases, funny captioned pictures, and so-called „viral‟ videos. Internet memes are „spreadable‟: they are effective, dismountable, customizable, and replicable. From a semiotic perspective, they are different kinds of texts that circulate thanks to a hypertextual dissemination; namely, througha process of transformation (samples, remixes) and imitation (remakes). Their syntax displays structures that mirror their creators‟ different operations of manipulation (bricolage) and that serve as a hook to users‟ agency, inviting them in turn to spread, modify or recreate the text. At the semantic level, despite the variety of themes and figures they carry, they all feature a striking element (punctum), usually a playful one (an incongruity, a „mistake‟), which serves as a hook to users‟ engagement.
{"title":"Semiótica de la propagabilidad: un enfoque sistemático de las imágenes virales a través de Internet","authors":"Gabriel A. Mariño","doi":"10.21789/24223158.1415","DOIUrl":"https://doi.org/10.21789/24223158.1415","url":null,"abstract":"The paper proposes a semiotic approach to Internet memes, a discursive domain that, although it represents a key and growing form of literacy, has so far been largely ignored by semiotics. Since the early 2000s, „Internet meme‟ has referred to a wide range of culturally shared pieces of media circulating over the Internet, such as catchphrases, funny captioned pictures, and so-called „viral‟ videos. Internet memes are „spreadable‟: they are effective, dismountable, customizable, and replicable. From a semiotic perspective, they are different kinds of texts that circulate thanks to a hypertextual dissemination; namely, througha process of transformation (samples, remixes) and imitation (remakes). Their syntax displays structures that mirror their creators‟ different operations of manipulation (bricolage) and that serve as a hook to users‟ agency, inviting them in turn to spread, modify or recreate the text. At the semantic level, despite the variety of themes and figures they carry, they all feature a striking element (punctum), usually a playful one (an incongruity, a „mistake‟), which serves as a hook to users‟ engagement.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42728410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dante Alighieri le dice a Virgilio en su Divina Commedia que se siente purgando su pena en la Primera Terraza de la Montana del Purgatorio[1]. Arq. Palanti y Sr. Barolo llevaron adelante el «Monumento al Genio Latino» el Hemisferio Austral. Sonaron que el «Pasaje Barolo» fuese el sepulcro del dante... El Barolo oculta simbologias y sentidos. Es un «Templo bajo la Cruz del Sur», una maqueta ilustrada del cosmos, siguiendo la tradicion de las catedrales goticas. [1] Dante Alighieri La Divina Commedia (Ilustraciones de Gustavo Dore), Eugenio Camerini. Milan. 1867 Canto XIIITroppa e piu la paura ond'e sospesal'anima mia del tormento di sotto,che gia lo 'ncarco di la giu mi pesa.
但丁·阿利吉耶里在他的神圣喜剧中告诉维吉尔，他觉得自己在炼狱山的第一个露台上赎罪[1]。ARQ。帕兰蒂和巴罗洛先生在南半球推进了“拉丁天才纪念碑”。听起来“巴罗洛通道”是但丁的坟墓。。。男爵隐藏着象征和意义。这是一座“南十字架下的寺庙”，一个遵循哥特式大教堂传统的宇宙插图模型。[1] 但丁·阿利吉耶里（古斯塔沃·多尔的插图），尤金尼奥·卡梅里尼。米兰。1867年，我唱了XIITROPPA E PIU LA PAURA OND'E SOSPESAL'anima mia del Tormento di Sotto，che gia lo'ncarco di la Giu mi PESA。
{"title":"Galeria Barolo: Ícono dantesco en Buenos Aires","authors":"Carlos Hilger","doi":"10.21789/24223158.1416","DOIUrl":"https://doi.org/10.21789/24223158.1416","url":null,"abstract":"Dante Alighieri le dice a Virgilio en su Divina Commedia que se siente purgando su pena en la Primera Terraza de la Montana del Purgatorio[1]. Arq. Palanti y Sr. Barolo llevaron adelante el «Monumento al Genio Latino» el Hemisferio Austral. Sonaron que el «Pasaje Barolo» fuese el sepulcro del dante... El Barolo oculta simbologias y sentidos. Es un «Templo bajo la Cruz del Sur», una maqueta ilustrada del cosmos, siguiendo la tradicion de las catedrales goticas. \u0000[1] Dante Alighieri La Divina Commedia (Ilustraciones de Gustavo Dore), Eugenio Camerini. Milan. 1867 \u0000Canto XIIITroppa e piu la paura ond'e sospesal'anima mia del tormento di sotto,che gia lo 'ncarco di la giu mi pesa.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41635407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Esta propuesta es el fruto de un proceso que se inicio en noviembre de 2018, con encuentros empaticos y acercamientos a la realidad de la comunidad. Desde un acto politico, etico, academico, investigativo, pero sobre todo humano y comprometido, el Semillero de Investigacion PAZS.O.S del Programa de Trabajo Social de la Universidad de La Salle ha acompanado, durante un ano y medio (2018 - I a 2019 - II), a familiares victimas de casos de desaparicion forzada en los municipios de Uribe, La Julia, Pinalito y el Paraiso en el departamento del Meta, territorios que hicieron parte de la “zona de distension” durante el periodo presidencial de Andres Pastrana (1998-2002). En dicho proceso, se despejo un territorio nacional para que un grupo al margen de la ley se asentara alli para concentrar a sus miembros con el proposito de establecer dialogos de paz con el Gobierno. Estos dialogos no llegaran a buen fin, sin embargo, las huellas de lo sucedido dejo graves secuelas en sus habitantes, una de ellas la desaparicion forzada de chicos y chicas, que en ese entonces tenian entre 12 y 17 anos, en su mayoria reclutados por las Fuerzas Armadas Revolucionarias de Colombia (FARC) o que, al salir de este territorio, fueron capturados por el Ejercito Nacional o los paramilitares.
该提案是始于2018年11月的一个过程的结果，通过共情会议和接近社区现实。从一个政治家,不道德的行为,academico调查,但尤其是人类和承诺,社会工作方案的一些调查PAZS.O.S苗床la Salle大学acompanado,一年时间在半(2018 - 2019 I - II),强迫受害者家属例desaparicion乌里韦市、茱莉亚Pinalito学系和天堂的目标,在安德烈斯·帕斯特拉纳总统任期内(1998-2002年)属于“安全区”的领土。在这一过程中，一个国家领土被清除，以便一个无法无天的团体在那里定居，集中其成员，目的是与政府建立和平对话。这些dialogos并不会是好结果,然而,印事件让其居民带来严重后果,其中一个被迫desaparicion男孩和女孩,当时有12至17年了,招募的大部分哥伦比亚革命武装部队(FARC)或者离开这个地区,他们被军队或国家准军事组织。
{"title":"Narrar el dolor, dignificar las víctimas y hacer memoría: Proyector editorial: Relatos, cuentos e ilustraciones","authors":"Semillero de Investigación Pazs.O.S","doi":"10.21789/24223158.1605","DOIUrl":"https://doi.org/10.21789/24223158.1605","url":null,"abstract":"Esta propuesta es el fruto de un proceso que se inicio en noviembre de 2018, con encuentros empaticos y acercamientos a la realidad de la comunidad. Desde un acto politico, etico, academico, investigativo, pero sobre todo humano y comprometido, el Semillero de Investigacion PAZS.O.S del Programa de Trabajo Social de la Universidad de La Salle ha acompanado, durante un ano y medio (2018 - I a 2019 - II), a familiares victimas de casos de desaparicion forzada en los municipios de Uribe, La Julia, Pinalito y el Paraiso en el departamento del Meta, territorios que hicieron parte de la “zona de distension” durante el periodo presidencial de Andres Pastrana (1998-2002). En dicho proceso, se despejo un territorio nacional para que un grupo al margen de la ley se asentara alli para concentrar a sus miembros con el proposito de establecer dialogos de paz con el Gobierno. Estos dialogos no llegaran a buen fin, sin embargo, las huellas de lo sucedido dejo graves secuelas en sus habitantes, una de ellas la desaparicion forzada de chicos y chicas, que en ese entonces tenian entre 12 y 17 anos, en su mayoria reclutados por las Fuerzas Armadas Revolucionarias de Colombia (FARC) o que, al salir de este territorio, fueron capturados por el Ejercito Nacional o los paramilitares.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48182735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jirō Taniguchi (1947-2017) was a Japanese mangacreator who drew particular praise in Europe. Taniguchi mixed Japanese mangaand Fraco-Belgian bandes dessineescomics. He worked different genresandcreated his personal poeticaland detailedstyle, as wecan see in A Distant Neighborthood.This manga, A Distant Neighborthood(Harukana machi ein Japanese and Barrio Lejanoin Spanish),is an semi-autobiographical history about JirōTaniguchi’s childhood. Hiroshi Nakahata, a middle-aged man, took the wrong train and travel to his birthplace at Kurayoshi (Tottori Prefecture). Nakahata is transported back in time and relive again his 14 years old. He is now a young student in 1963; buthe had all of his adult memories and knowledge. Inthe summer of 1963his father go awayand he want toknow the reasons.A Distant Neighborthoodis a lirical reflection of familiar memoriesand everyday stories
{"title":"Barrio lejano (1998) de Jirō Taniguchi: memoria y manga","authors":"V. D. Almazán Tomás","doi":"10.21789/24223158.1528","DOIUrl":"https://doi.org/10.21789/24223158.1528","url":null,"abstract":"Jirō Taniguchi (1947-2017) was a Japanese mangacreator who drew particular praise in Europe. Taniguchi mixed Japanese mangaand Fraco-Belgian bandes dessineescomics. He worked different genresandcreated his personal poeticaland detailedstyle, as wecan see in A Distant Neighborthood.This manga, A Distant Neighborthood(Harukana machi ein Japanese and Barrio Lejanoin Spanish),is an semi-autobiographical history about JirōTaniguchi’s childhood. Hiroshi Nakahata, a middle-aged man, took the wrong train and travel to his birthplace at Kurayoshi (Tottori Prefecture). Nakahata is transported back in time and relive again his 14 years old. He is now a young student in 1963; buthe had all of his adult memories and knowledge. Inthe summer of 1963his father go awayand he want toknow the reasons.A Distant Neighborthoodis a lirical reflection of familiar memoriesand everyday stories","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42011835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
?Como hablar de imagenes? ?Como ver palabras? ?Como zigzaguear esta frontera a la que se acostumbra presentar como natural, como explicativa de la vida misma, y que a la vez —desde su inexistencia— provoca bestiales debates en los que de forma extranamente organica resultamos, unos y otros, siendo parte constitutiva de posturas historicamente pensadas para las graficas y para las letras de otras epocas, de otros espacios?
{"title":"Imagen ilustrada en post tiempos","authors":"Julián Velásquez Osorio","doi":"10.21789/24223158.1463","DOIUrl":"https://doi.org/10.21789/24223158.1463","url":null,"abstract":"?Como hablar de imagenes? ?Como ver palabras? ?Como zigzaguear esta frontera a la que se acostumbra presentar como natural, como explicativa de la vida misma, y que a la vez —desde su inexistencia— provoca bestiales debates en los que de forma extranamente organica resultamos, unos y otros, siendo parte constitutiva de posturas historicamente pensadas para las graficas y para las letras de otras epocas, de otros espacios?","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68353213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The analysis of an image reveals to us what it wants to show and also what it keeps inside. The base for this study is a particular moment of a collective’s history, the exhibition of the Ulm School of Design, carried out in 1958, which show to the world the new way to go ahead in a new vision. In the image, we discovered several overlapping planes that allow us to perceive the individuality and the whole message that will be transmitted. Sequences, fixed and mobile aspects, light and color. The image concept as a sum of moments that guides us to the implicit perception, to the footprint we recognize today in an image.
{"title":"Nueva visión. El valor de la imagen.","authors":"Marcela Quijano Salas, Emilia Benito Roldán","doi":"10.21789/24223158.1419","DOIUrl":"https://doi.org/10.21789/24223158.1419","url":null,"abstract":"The analysis of an image reveals to us what it wants to show and also what it keeps inside. The base for this study is a particular moment of a collective’s history, the exhibition of the Ulm School of Design, carried out in 1958, which show to the world the new way to go ahead in a new vision. \u0000In the image, we discovered several overlapping planes that allow us to perceive the individuality and the whole message that will be transmitted. \u0000Sequences, fixed and mobile aspects, light and color. The image concept as a sum of moments that guides us to the implicit perception, to the footprint we recognize today in an image.","PeriodicalId":33170,"journal":{"name":"La Tadeo DeArte","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43352932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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