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Titlebook: Artistic Utopias of Revolt; Claremont Road, Recl Julia Ramírez Blanco Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Berlin

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發(fā)表于 2025-3-21 16:39:58 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
期刊全稱(chēng)Artistic Utopias of Revolt
期刊簡(jiǎn)稱(chēng)Claremont Road, Recl
影響因子2023Julia Ramírez Blanco
視頻videohttp://file.papertrans.cn/163/162750/162750.mp4
發(fā)行地址Examines expressions of utopian ideals by social activists in Western Europe since the late twentieth century.Analyses the aesthetic components of utopian space through a series of case studies.Argues
學(xué)科分類(lèi)Palgrave Studies in Utopianism
圖書(shū)封面Titlebook: Artistic Utopias of Revolt; Claremont Road, Recl Julia Ramírez Blanco Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Berlin
影響因子This book analyses the aesthetic and utopian dimensions of various activist social movements in Western Europe since 1989. Through a series of case studies, it demonstrates how dreams of a better society have manifested themselves in contexts of political confrontation, and how artistic forms have provided a language to express the collective desire for social change..The study begins with the 1993 occupation of Claremont Road in east London, an attempt to prevent the demolition of homes to make room for a new motorway. In a squatted row of houses, all available space was transformed and filled with elements that were both aesthetic and defensive – so when the authorities arrived to evict the protestors, sculptures were turned into barricades. At the end of the decade, this kind of performative celebration merged with the practices of the antiglobalisation movement, where activists staged spectacular parallel events alongside the global elite’s international meetings. As this book shows, social movements try to erase the distance that separates reality and political desire, turning ordinary people into creators of utopias. Squatted houses, carnivalesque street parties, counter-summ
Pindex Book 2018
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Disobedience as an Urban Form: The Acampadasol in Madrid, and the last is that, in both cases, the social movement . a place. Both the anti-roads movement and the dissident camps of 2011 are spatial typologies, replicated in distinct locations and extended in a viral manner. The utopian place functions as an embodied place in which one can experience anot
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Book 2018d spectacular parallel events alongside the global elite’s international meetings. As this book shows, social movements try to erase the distance that separates reality and political desire, turning ordinary people into creators of utopias. Squatted houses, carnivalesque street parties, counter-summ
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Interlude: The Globalization of the Aesthetics of Protest,zation movement’, or the ‘movement of movements’. Focusing briefly on several global events, analysis is directed at the codification of a repertoire for a new visual vocabulary of street dissidence, which took on a transnational dimension through the format of the counter-summits. So-called ‘tactic
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Disobedience as an Urban Form: The Acampadasol in Madrid,oratively called the .: Portugal, Italy, Greece, and Spain. Ramírez Blanco’s analysis here is placed in the spring of 2011, when a protest camp was set up in Madrid, initiating a new cycle of Western occupations of the public space. This chapter deploys a first-person study of a camp in which utopia
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發(fā)表于 2025-3-23 06:29:47 | 只看該作者
Notes Towards a Conclusion, she discusses the aesthetic particularities, the utopian meaning, and the communitarian aspects of these particular utopias, which are located between construction and destruction, between building a better world and demolishing the previous system.
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