ResumenEl presente artículo trata sobre la contraposición que a lo largo del siglo XX se ha hecho entre la Castilla medieval y el reino de León, atribuyendo unos rasgos concretos a ambas realidades políticas medievales. Veremos cómo este discurso nace a finales del XIX y se desarrolla en la primera mitad del XX, transformándose a lo largo de las décadas y poniéndose al servicio de distintos intereses políticos, que irían desde el regeneracionismo hasta la propaganda del régimen franquista, pasando por el regionalismo castellano.AbstractThis paper deals with the opposition made during the 20th century between medieval Castile and the Kingdom of Leon, based on alleged specific features of each of them. In this paper it can be seen how this thesis begins at the end of the 19th century and it develops in 20th century by changing throughout the decades. Moreover, it shows different political interests and movements ranging from Regenerationism to Franco Regime's propaganda, bearing also in mind Castilian Regionalism.
ResumenEl presente artículo trata sobre la contraposición que a lo largo del siglo XX se ha hecho entre la Castilla medieval y el reino de León, atribuyendo unos rasgos concretos a ambas realidades políticas medievales. Veremos cómo este discurso nace a finales del XIX y se desarrolla en la primera mitad del XX, transformándose a lo largo de las décadas y poniéndose al servicio de distintos intereses políticos, que irían desde el regeneracionismo hasta la propaganda del régimen franquista, pasando por el regionalismo castellano.AbstractThis paper deals with the opposition made during the 20th century between medieval Castile and the Kingdom of Leon, based on alleged specific features of each of them. In this paper it can be seen how this thesis begins at the end of the 19th century and it develops in 20th century by changing throughout the decades. Moreover, it shows different political interests and movements ranging from Regenerationism to Franco Regime's propaganda, bearing also in mind Castilian Regionalism.
This thesis, as part of a movement towards the degree of PhD (a becoming Doctor of Philosophy), is constructed and approached as a philosophical situation, which is always about an encounter between terms that are foreign to each other. In this case, through the exploration of the interplays of space, film and politics, a multiplicity of foreign terms and such encounters will emerge and take us along a journey through places, movies and architectures, to discuss the ways in which architecture and other spatial practices think, imagine and produce the worlds we live in and the ways in which we live together. Quite differently from what has usually been the focus of explorations of the relationships between film and architecture -namely an approach to their connections as formal constructions and compositional techniques- I will approach cinema as a form that thinks, as an apparatus of spatial critique and as a material that is capable of activating a time and a space of encounter: one in which people are enabled to meet reality at a distance from that in which they are presently becoming. Film is here an encounter with otherness, and allows thinking in and through the distance that separates the viewer from the screen and from the spaces and realities presented on it. lt does so by means of its form. lt is a form that thinks. Through its thinking, cinema can change the ways in which we conceive of territories and places; it can change the ways in which we conceive of architecture, helping us move from understanding it as a discipline or an 'it' to seeing it as an action or a verb: to architect. Cinema can help us gain the critical, social, political and utopian impetus we are missing in our 'movement' towards the establishment of the common. Philosophy has, according to Badiou, three tasks in relationship with situations: first, it has to help us clarify the basic choices of our thinking; second, it has to help us clarify the distance between that thinking (truths as creation) and power; and third,it has to help us clarify the importance of the exception, the rupture, the event. Choice, distance, exception. One could also see in that sequence a relationship to the main three parts of this research, the first part is about choices: an archaeology of the present that forces us to choose between different things in order to approach what I will call 'pragmatic dissent'; the second part is about distances: a filmic, spatial and affective journey in which we take a distance from that present in order to encounter reality, and we do so by exploring and developing an 'aesthetics of encounter'; and the third part is about exceptions: an exploration of other images and other spaces, alternatives and events in the conception, thinking and production of spaces and images, a journey through these exceptions that will become a discussion of two interrelated notions: anarchic metapolitics and what I will provisionally call 'ethics of encounter'. Or in other words, a different way of conceiving and addressing our becoming 'of' the world as architects and the responsibilities we have in relationship with its transformation through the thinking, construction and organization of our coexistence. ; Esta tesis - parte de una trayectoria orientada a la obtención del grado de doctor (un devenir 'philosophi doctor:o PhD) - se ha construido y afrontado como una situación filosófica, siempre un encuentro entre términos ajenos entre sí. En este caso, a través de la exploración de las relaciones de espacio, cine y política, se hacen posibles múltiples encuentros de este tipo, que emergen y nos conducen a lo largo y ancho de lugares, películas y arquitecturas, con el fin de discutir las maneras en las que la arquitectura y otras prácticas espaciales piensan, imaginan y producen los mundos que habitamos y los diversos modos en los que podemos habitarlos juntos. En marcado contraste con las aproximaciones más usuales a las relaciones entre cine y arquitectura -caracterizadas generalmente por enfoques centrados en aspectos formales y técnicas compositivas- la tesis se acerca al cine como forma capaz de pensar, y como aparato de crítica espacial capaz de activar un tiempo y un lugar de encuentro: un espacio y un tiempo en el que encontrarse con la realidad a una cierta distancia con respecto a la que nos separa de nuestro devenir cotidiano. El cine es entonces un encuentro con la alteridad, con el otro, y permite pensar en y a través de la distancia que separa al espectador de la pantalla y de los espacios y realidades que se presentan en ella. El cine es capaz de producir este encuentro gracias a su forma. Una forma capaz de pensar. A través de su pensar, el cine puede cambiar las maneras en que concebimos territorios y lugares; y puede cambiar las formas en las que concebimos la arquitectura, ayudándonos a pasar de entenderla como una disciplina o entidad a verla como una acción o un verbo:'arquitecturar'. El cine puede contribuir a recuperar el ímpetu crítico, social, político y utópico tan necesario en nuestro 'movimiento' hacia el establecimiento de lo común. La filosofía, según Badiou, tiene tres tareas principales en relación con las situaciones:primero, debe ayudarnos a clarificar las decisiones principales de nuestro pensar; segundo,debe ayudarnos a clarificar la distancia entre ese pensamiento (verdades como creación) y el poder;y tercero,debe ayudarnos a clarificar la importancia de la excepción, la ruptura, el acontecimiento. Elección, distancia, excepción. Podría encontrarse en esa secuencia también una relación con las tres partes de esta investigación; la primera parte se centra en la elección: una arqueología del presente que nos obliga a escoger con el fin de aproximarnos a lo que llamaré 'disenso pragmático'; una segunda parte que trata de distancias: un viaje fílmico,espacial y afectivo en el que tomamos distancia sobre ese presente para encontrarnos con la realidad, a través de la exploración y el desarrollo de una 'estética del encuentro'; y una tercera parte que se ocupa de la excepción,una exploración de imágenes y espacios otros y otras, alternativas y acontecimientos en la concepción, pensamiento y producción de espacios e imágenes, una travesía a través de estas excepciones que se convertirá en una discusión de dos nociones interrelacionadas: metapolítica anárquica y lo que denominaré provisionalmente 'ética del encuentro'. Es decir, otra forma de concebir y afrontar nuestro devenir arquitectos 'de' el mundo y las responsabilidades que tenemos en relación con su transformación a través de la concepción, construcción y organización de nuestra coexistencia ; Postprint (published version)
La mejora de la calidad y la transparencia del gobierno sanitario tiene un impacto en la salud de la población a través de las políticas, de la gestión de las organizaciones y de la práctica clínica. Además, la comparación entre centros sanitarios y la retroalimentación de los resultados de forma transparente a los profesionales y a la ciudadanía contribuye directamente a la mejora en los resultados. La Central de Resultados del sistema sanitario catalán mide y difunde los resultados alcanzados en el ámbito de la asistencia sanitaria por los diferentes proveedores a fin de facilitar una toma de decisiones corresponsable al servicio de la calidad de la atención sanitaria prestada a la población de Cataluña. Esta es una iniciativa pionera en el Estado español, y está alineada con los países más avanzados en políticas de transparencia y rendición de cuentas ; Improving the quality and transparency of the healthcare government has an impact on the health of the population through policies, management of organizations, and clinical practice. Moreover, the comparison between healthcare centres and the transparent feedback of results to professionals and to the citizens contributes directly to improved results. The Results Centre of the Catalan healthcare system measures and disseminates the results achieved by the different healthcare centres in order to facilitate a co-responsible decision making process, at the service of the quality of healthcare provided to the population of Catalonia. This is a pioneering initiative in Spain, and is aligned with the most advanced countries in policies of transparency and accountability
This thesis, as part of a movement towards the degree of PhD (a becoming Doctor of Philosophy), is constructed and approached as a philosophical situation, which is always about an encounter between terms that are foreign to each other. In this case, through the exploration of the interplays of space, film and politics, a multiplicity of foreign terms and such encounters will emerge and take us along a journey through places, movies and architectures, to discuss the ways in which architecture and other spatial practices think, imagine and produce the worlds we live in and the ways in which we live together. Quite differently from what has usually been the focus of explorations of the relationships between film and architecture -namely an approach to their connections as formal constructions and compositional techniques- I will approach cinema as a form that thinks, as an apparatus of spatial critique and as a material that is capable of activating a time and a space of encounter: one in which people are enabled to meet reality at a distance from that in which they are presently becoming. Film is here an encounter with otherness, and allows thinking in and through the distance that separates the viewer from the screen and from the spaces and realities presented on it. lt does so by means of its form. lt is a form that thinks. Through its thinking, cinema can change the ways in which we conceive of territories and places; it can change the ways in which we conceive of architecture, helping us move from understanding it as a discipline or an 'it' to seeing it as an action or a verb: to architect. Cinema can help us gain the critical, social, political and utopian impetus we are missing in our 'movement' towards the establishment of the common. Philosophy has, according to Badiou, three tasks in relationship with situations: first, it has to help us clarify the basic choices of our thinking; second, it has to help us clarify the distance between that thinking (truths as creation) and power; and third,it has to help us clarify the importance of the exception, the rupture, the event. Choice, distance, exception. One could also see in that sequence a relationship to the main three parts of this research, the first part is about choices: an archaeology of the present that forces us to choose between different things in order to approach what I will call 'pragmatic dissent'; the second part is about distances: a filmic, spatial and affective journey in which we take a distance from that present in order to encounter reality, and we do so by exploring and developing an 'aesthetics of encounter'; and the third part is about exceptions: an exploration of other images and other spaces, alternatives and events in the conception, thinking and production of spaces and images, a journey through these exceptions that will become a discussion of two interrelated notions: anarchic metapolitics and what I will provisionally call 'ethics of encounter'. Or in other words, a different way of conceiving and addressing our becoming 'of' the world as architects and the responsibilities we have in relationship with its transformation through the thinking, construction and organization of our coexistence. ; Esta tesis - parte de una trayectoria orientada a la obtención del grado de doctor (un devenir 'philosophi doctor:o PhD) - se ha construido y afrontado como una situación filosófica, siempre un encuentro entre términos ajenos entre sí. En este caso, a través de la exploración de las relaciones de espacio, cine y política, se hacen posibles múltiples encuentros de este tipo, que emergen y nos conducen a lo largo y ancho de lugares, películas y arquitecturas, con el fin de discutir las maneras en las que la arquitectura y otras prácticas espaciales piensan, imaginan y producen los mundos que habitamos y los diversos modos en los que podemos habitarlos juntos. En marcado contraste con las aproximaciones más usuales a las relaciones entre cine y arquitectura -caracterizadas generalmente por enfoques centrados en aspectos formales y técnicas compositivas- la tesis se acerca al cine como forma capaz de pensar, y como aparato de crítica espacial capaz de activar un tiempo y un lugar de encuentro: un espacio y un tiempo en el que encontrarse con la realidad a una cierta distancia con respecto a la que nos separa de nuestro devenir cotidiano. El cine es entonces un encuentro con la alteridad, con el otro, y permite pensar en y a través de la distancia que separa al espectador de la pantalla y de los espacios y realidades que se presentan en ella. El cine es capaz de producir este encuentro gracias a su forma. Una forma capaz de pensar. A través de su pensar, el cine puede cambiar las maneras en que concebimos territorios y lugares; y puede cambiar las formas en las que concebimos la arquitectura, ayudándonos a pasar de entenderla como una disciplina o entidad a verla como una acción o un verbo:'arquitecturar'. El cine puede contribuir a recuperar el ímpetu crítico, social, político y utópico tan necesario en nuestro 'movimiento' hacia el establecimiento de lo común. La filosofía, según Badiou, tiene tres tareas principales en relación con las situaciones:primero, debe ayudarnos a clarificar las decisiones principales de nuestro pensar; segundo,debe ayudarnos a clarificar la distancia entre ese pensamiento (verdades como creación) y el poder;y tercero,debe ayudarnos a clarificar la importancia de la excepción, la ruptura, el acontecimiento. Elección, distancia, excepción. Podría encontrarse en esa secuencia también una relación con las tres partes de esta investigación; la primera parte se centra en la elección: una arqueología del presente que nos obliga a escoger con el fin de aproximarnos a lo que llamaré 'disenso pragmático'; una segunda parte que trata de distancias: un viaje fílmico,espacial y afectivo en el que tomamos distancia sobre ese presente para encontrarnos con la realidad, a través de la exploración y el desarrollo de una 'estética del encuentro'; y una tercera parte que se ocupa de la excepción,una exploración de imágenes y espacios otros y otras, alternativas y acontecimientos en la concepción, pensamiento y producción de espacios e imágenes, una travesía a través de estas excepciones que se convertirá en una discusión de dos nociones interrelacionadas: metapolítica anárquica y lo que denominaré provisionalmente 'ética del encuentro'. Es decir, otra forma de concebir y afrontar nuestro devenir arquitectos 'de' el mundo y las responsabilidades que tenemos en relación con su transformación a través de la concepción, construcción y organización de nuestra coexistencia ; Postprint (published version)
This thesis, as part of a movement towards the degree of PhD (a becoming Doctor of Philosophy), is constructed and approached as a philosophical situation, which is always about an encounter between terms that are foreign to each other. In this case, through the exploration of the interplays of space, film and politics, a multiplicity of foreign terms and such encounters will emerge and take us along a journey through places, movies and architectures, to discuss the ways in which architecture and other spatial practices think, imagine and produce the worlds we live in and the ways in which we live together. Quite differently from what has usually been the focus of explorations of the relationships between film and architecture -namely an approach to their connections as formal constructions and compositional techniques- I will approach cinema as a form that thinks, as an apparatus of spatial critique and as a material that is capable of activating a time and a space of encounter: one in which people are enabled to meet reality at a distance from that in which they are presently becoming. Film is here an encounter with otherness, and allows thinking in and through the distance that separates the viewer from the screen and from the spaces and realities presented on it. lt does so by means of its form. lt is a form that thinks. Through its thinking, cinema can change the ways in which we conceive of territories and places; it can change the ways in which we conceive of architecture, helping us move from understanding it as a discipline or an 'it' to seeing it as an action or a verb: to architect. Cinema can help us gain the critical, social, political and utopian impetus we are missing in our 'movement' towards the establishment of the common. Philosophy has, according to Badiou, three tasks in relationship with situations: first, it has to help us clarify the basic choices of our thinking; second, it has to help us clarify the distance between that thinking (truths as creation) and power; and third,it has to help ...
The optimism emanating from the opening quote, which I fundamentally share, confronts a grim landscape of universal cynicism, toxic capitalism and liberal, fake ethics. Those seem to be the reigning kings of the world we live in. Or in other words, shit-is-fucked-up-and-bullshit. The sentence, as found in the placards of some of the Occupy protesters, can be read in different ways. On the one hand, one could see it as the epitome of modern cynicism, which Sloterdijk has famously described as "enlightened false consciousness"2 ; in this case, the informed consciousness that 'shit is fucked up', i.e. things are going quite bad and everything is out of control, we are not in control – no one is in control – and those in power are 'bullshitting' us while selling out to investors. There is no way out… we can't do anything but continue expressing our cynical critique and turning our back on reality to focus on our own, already difficult, survival. On the other hand, the sentence could also be understood as the necessary denunciation of an unacceptable state of things, a loud cry that signals a profound disappointment and acts as the starting point of a search for justice, one that could thrust things towards what Simon Critchley has recently called an ethics of commitment and political resistance.3 It is certainly an active stance that I believe we should take, and one that avoids falling on the side of active nihilism: it is not about bringing this world down, destroying it and putting a new one in its place, but rather about transforming it radically from within. We have to imagine (and make become) another future, using the imaginative space of architecture, through the direct engagement in here-and-now situations. My suggestion is that sharing, displacing, caring might be important and necessary ingredients of such a demanding endeavour. In what follows below, I will try to sketch out what I mean by each of those verbs and the implications of such a performative approach for spatial practices. ; Formas Strong Research Environment "Architecture in Effect"
It seems as if the city, its space, its future, its production, were almost exclusively the result of a series of processes and flows taking place at unreachable distance, in un-known locations, mostly determined by the interests and wills of un-localized powers, actors and flows. As if the city could no longer be produced and shaped after the desires of its inhabitants, articulating one or another form of collective will. As if the city was no longer the soul and reason of urban politics but just the mere object of a kind of witty and hygienic managing that understands built space as a market and a product, placing economy at the very center of society. Urban agendas no longer include distributive and social considerations but focus now on economic growth, competitiveness and entrepreneurship. Creative flexibility, efficiency and strategic partnership exclude dissent, conflict and radical criticism nearly foreclosing the political from the face of the city. Cityspace anesthetized. Public space today is planned, designed, defined, segregated, policed, and set up in order to be easily controlled, 'secured', and 'marketized', in ways that lead to homogenous, uninteresting, smooth and clean surfaces that differ very much from the inherent characteristics of the very idea of public.
This work is a contribution to the study of the adoption and use of computers in the savings bank industry in western Europe before the arrival of the Internet. It documents the presence of a pan-European network of IT users and analyzes the role of their industry associations in the processes of adopting and disseminating technology. It describes and analyzes their situation as late technology users, indicating certain specific and original patterns in the adoption of computers. Special attention is given to the implementation of shared computer centers throughout Europe and the results in the area of online accounting systems and teleprocessing systems as steps before the development of savings bank electronic funds transfer networks. It documents that in the savings banks industry, a reciprocal influence between technology and its uses was in play over long period of time and throughout the technological changes.
