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block in a museum!

collision of galaxies. I almost did not rise above last summer when visiting the exhibition "Gangs of the 80" in Barcelona descrubrí a large photo of my grandmother's house, block No. 12, Otxarkoaga , Bilbao. The photo, along with other similar sites, is part of the section of English development districts, the urban context in which this charismatic figure emerges from the periphery to the thug that honors the exhibition, curated by Amanda and Mery costs for the CCCB and can now be seen at the Casa de Madrid Lit.

Otxarkoaga, a banal story. Built by Franco in the fifties to house immigrant families working in factories and lived in shacks Biscay at the foot of the mountains around. "That homes make them as God commands, "seems to have said, and hastily put together an entire neighborhood, in the seventies and eighties, was the most notorious of Bilbao. I dare say undeserved because at that time I still was not quite developed the threshold of normal, so do not know. It was a suburb and working class as the horse reigned everywhere, the streets were unnamed and identified by the number of buildings: I'm from the block 12, go to block 38, block like me 156.

Unlike other similar sites whose image is almost completely normalized (as Rekalde) Otxarkoaga has failed to change the reputation. Say that you come from there or even cause those split seconds of silence held for the neurons imagine what your interlocutor processing at full speed to give the appropriate commentary in terms of naturalness, cosmopolitanism, class consciousness, etc.. In short, the kind of place you do not expect to find referenced in an art center.

Criticism Gangs Expo were there: aestheticization of the marginal incision in an image of the neighborhood that does not help to regenerate ... In my view, blurred. Reconzoco quicksand that enters. But distrust of the authoritative public insists on dealing with socially sensitive issues equidistance content, which is based on a test that fails to get to talk to other parameters (eg, global) and assumes that all the tales of the working sensitivity that deviate from the official ( family honored that through hard work and sacrifice, has passed to the next screen of the social ladder) are necessarily depoliticized. We do not need another hero or more guardians of the revolution, thanks.

'm the first one gets defensive when you hear someone who never put foot in a neighborhood and say you like that exposure. I also want to split face. But while I realize that we handle aesthetic references are identical: the reasons why that person will cool the expo and the reasons why I understand that mola are the same. If free and celebratory vision of Gangs make sense (and has, since the mean of the first) is because we all understand the symbolic mechanisms that come into play without any difficulty. This is what has to go from being a poor country to a new rich (sorry, middle class), that requires us reproblematizar very tricky issues such as migration class and reformurlarlos within a framework of cultural referents movement totally popular crime and also mainstreamed in terms of class (everything from the crisis of leftist thought would go here).

Watching a film like La Haine a commercial festival of auteur cinema, cool. Looking at the MTV videos of hip-hop, which is not exactly Beverly Hills, too. Even listening to the tone the Lopez "Jenny from the block" has its charms. But treating the offender's neighborhood aesthetics as one element of our common cultural landscape, that can not. That's reappropriation inappropriate, ethically dubious, superficial and fetishizing. Exploitation English. Well, I'm glad to see the block my grandmother in a center of art and I mean it from all angles: the cultural criticism and class pride. Otxarkoaga cool, of course, yes, of course.

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report on "Cultural Enterprises, Creative Industries and Employment Generation"

In addition to the conference on "Cultural Enterprises, Creative Industries and Employment Generation" organized by the Basque Government on 14 June in Vitoria, we asked the participants to elaborate on a brief assessment report . I copy my report below for archival and debate (which I encourage you to participate via comments to this post or on Facebook footnote).

More information about the program:
Presentation and complete program
Texts and communications of the participants

More information regarding the economics of culture (from the point of view of the bottom left): Cultivation of microbes
Zemos98 Sevilla 2010
For those enjoy working Madrid 2010
REU08 Andalucia 2010


Zemos98 REU08 for 2010.

My report: Industrial Thought


seems that the past keeps us from evolving. We still believe the economy (and therefore the economy of culture) in industrial terms, probably due to inertia old country has become rich with industrialization. If we are to remain competitive in the new scenario, we must take risks and updated. The case of Extremadura is totally contrary and paradigmatic: a region which, as has "nothing to lose," much more risk and takes to really innovative policies. Culture vs

.
cultural industries in general, the idea of \u200b\u200bculture that has been handled in the papers is economist and industry. There industrializable cultural sectors (cinema, video games, great entertainment, media, etc) but all are not. We need to understand the cultural in a way:
> Qualitative: intangible value of the creative, relational capital, lifestyles.
> Informal: value generated by the informal economy, Metal framed the cultural sector.
> System: although each has its specific subsector, think about culture as a whole, an organism or a flow system which increasingly go beyond the cultural sector itself.
> Micro: we know that almost all cultural activities are nano or micro-businesses (or not companies at all), let's ignore it. Culture vs

. Creative Industry
Throughout the day it became apparent confusion between, on one hand, cultural sector (in the traditional sense: arts, literature, entertainment, etc) and secondly, the "new creative economy" (innovation, wealth creation intangible, etc). It's a very contemporary confusion and nobody has yet found a recipe out of the mess, but we are aware of it. Culture, understood as a social laboratory of ideas, is to generate innovation processes but should not become a throwaway resource in the service industry. Be very careful with this. Culture vs

. Cultural entrepreneurship
The cultural entrepreneurship is a trick to overcome the reduction in public funding and outsourcing service (changing the logic of the grant by the contract). The economic reality of the cultural sector makes it difficult to start-ups.

methodologies obsolete
is worrying that a number of interventions have repeated the same argument, namely, "While we are no longer valid, still using the same tools of analysis because they are the ones we know." Serious work is needed to search for indicators (such as pointing Montserrat) because we poor indicators false false analysis and policy analysis do wrong. Public event

vs. Professional meeting Same
the workshop would want to kill many birds with one stone, combining incompatible objectives. For one thing, get some media exposure, and secondly to bring together a group of "experts" or professionals to reflect on cultural policies. In the end they are both half.

My proposal is that from the Department of Culture of the Basque Government to start working on policy design collaborative between institutions and the cultural sector. Already being done? Then we must continue in that direction and depth. There is a problem of budget and political will.

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Playboy, the boy inside

Preciado's latest book, "Pornotopia. Architecture and sexuality in Playboy during the Cold War , contains two essays in one. The first can be read as an extended footnote on previous page "Testo Yonki" on the implementation of the scheme farmacopornográfico, illustrated here by the universe Playboy as the first company that successfully commercialized the brothel global multimedia , ie the complex composed of the magazine, TV shows, websites and other media products that exploit the business-core brand of the bunnies. The second test is more specific, it incorporates the foregoing the architectural factor and in particular: the cultural construction of living spaces in postwar American society.

said in a tweet: in the fifties, man invents Plaboy interior.

Hugh Hefner, Playboy founder and pioneer of the horizontal work, at home, Chicago 1966 (Photo: Burt Glinn / Magnum).

How so? We know that in the atomic age, women, locked in the suburban family home with children, garden and home appliances that do everything alone die of boredom. It turns out that their husbands, educated to deal with things that matter, even more bored. Worse, they feel powerless, because the place to which they return after sucking Nosecuantos hours drive out of the office, not theirs. The single-family house not only works as "a comfortable concentration camp suburban" for middle-class women, also for their husbands.

On the left, the traditional American man, on the right, the new playboy (Arv Miller drawings for Playboy, 1953).

Even the male heterosexual American fifties and not like their parents. He does not like to go hunting, do not identify with the values \u200b\u200bof work, family and responsibility and is up to the eggs of the obligations to which it condemns its status as a good father and good husband. Favorite son of the consumer society, he also claimed the right to own room. A place to feel frivolous, childish and free, and what is more important: a place where the type of women that dominate his life in the private space and define the scope of their duties in the public and the mother, wife and homemaker, never have access. The imaginary male masculinity postwar claims as its measure and ideal space (utopian) to stage it. Marketing is what is known as "target market."

wanted a dream home. A place where you can work out and have fun without the problems and conflicts of the outside world. The man does not dream of a place where to hang your hat, but with its own space, a place that you know belongs to him, an environment that can handle alone. Playboy has designed, from the baseboards to the ceiling, attic idel for the single urbanite. Hugh Hefner, Playboy publisher 1953.

Longitudinal designed penthouse Playboy singles by Donald Jaye in 1962.

This new habitat, Preciado called "topos erotic alternative to the suburban family home, take body, first in the attic Playboy after the Chicago Playboy mansion and the Playboy Mansion West Los Angeles, where the brand's founder, Hugh Hefner , lives and works in silk dressing gown and slippers, surrounded by girlfriends and partners. Playboy In homes, real or fictitious, gender divisions are strictly controlled but not in the usual way. "Playboy's strategy was not to transform the mother and whore housewife legal -As before-but a great companion model is not a threat to domestic and sexual autonomy. " This is where the bunnies make their entry, not as a central element of the business, but like a mirage, to reinforce the idea of \u200b\u200bmasculinity inside, keeping away the ghost of the homosexual. The female figure is negligible and only strategic but is present in a virtualized, as guest playmate, their presence can be activated or deactivated by closing a door or from a page.

"Pornotopia", with which prices has been a finalist Anagram test also includes a detailed study of the famous round bed Hefner and a host of references and gossip. Are only 200 pages, large print, which are read in three sittings.