Academic literature on the topic 'Uruguayan Artists'
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Journal articles on the topic "Uruguayan Artists"
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Costa Pederson, Claudia. "Imitation, Fear, and Conviviality." Media-N 14, no. 1 (2018): 24–37. http://dx.doi.org/10.21900/j.median.v14i1.63.
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This essay discusses alternative models to mimesis as the norm in mainstream immersive technologies. Projects by two Latin American designers, the Uruguayan videogame designer Gonzalo Frasca, and the Cuban interaction designer, Iván Abreu Ochoa, exemplify such alternatives. I examine how both designers eschew idealized realism in favor of repositioning immersive spaces as a forum of debate about issues relevant to contemporary civic life, respectively, war and immigration. Conceived thusly, these works constitute uses of immersive technologies, gaming and the internet, for purposes of cultural critique and catalyzing emancipatory social energies. In this light, I argue that these projects work to both undermine normative conceptions of mimesis, as mimetic simulations are revealed to be partial, not neutral; and as well, demonstrate belief in the role of immersive technologies as support of convivial culture. As such, these projects are not unique, but can be understood as being part of transnational networks of alternative media, and extensions of the significant historical and contemporary contributions of Latin American artists and designers to this project.
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Elliott, Matthew David. "Exchanging Engagement: Alternative Arts Engagement in Latin America." Conjunctions. Transdisciplinary Journal of Cultural Participation 3, no. 1 (2016): 1. http://dx.doi.org/10.7146/tjcp.v3i1.23646.
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In 1973, Eduardo Galeano (1940-2015), the Uruguayan writer and journalist concluded his seminal book Open Veins of Latin America with the following: ‘The Latin American cause is above all a social cause: the rebirth of Latin America must start with the overthrow of its masters, country by country. We are entering times of rebellion and change’ (Galeano, 1973, p. 261). As Galeano stated, the oppression of populations and the loss of lives throughout Latin America led to ‘times of rebellion and change’. Artists, activists and the wider community sought to challenge and resist autocratic regimes to seek alternative ways of upholding their democratic and human rights. These methods and practice have transcended the democratisation of the continent in the 1980s and 1990s. The desire to advocate change through the arts has continued to be radical and proposes an alternative way of being to communities in Latin America. How can this practice be transposed to benefit the personal and social development of young people in the UK?The author’s experience of working with young people and his encounters with Latin American arts practice led to a need to intertwine these practices and develop theatre as a model for social change, which engages the political and social rights of young people in the UK.The paper is a product of a six-week practice-based research project in Latin America (Chile, Argentina and Uruguay) that explored innovative arts engagement for marginalised young people. The research was undertaken as a means to develop a high quality arts provision for young people in the UK. The paper focuses on three areas: continuity, sustainability and activism, and asks the reader: How can theatre ethically engage young people in the social and political decisions that shape their society? The research was funded by the Winston Churchill Memorial Trust.
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Rodd, Robin. "Democratic Citizenship as Uruguayan Cultural Heritage." Democratic Theory 6, no. 1 (2019): 27–48. http://dx.doi.org/10.3167/dt.2019.060103.
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Amidst a global turn towards authoritarianism and populism, there are few contemporary examples of state-led democratization. This article discusses how Uruguay’s Frente Amplio (FA) party has drawn on a unique national democratic cultural heritage to encourage a coupling of participatory and representative institutions in “a politics of closeness.” The FA has reinvigorated Batllismo, a discourse associated with social justice, civic republicanism, and the rise of Uruguayan social democracy in the early twentieth century. At the same time, the FA’s emphasis on egalitarian participation is inspired by the thought of Uruguay’s independence hero José Artigas. I argue that the cross-weave of party and movement, and of democratic citizenship and national heritage, encourages the emergence of new figures of the citizen and new permutations for connecting citizens with representative institutions. The FA’s “politics of closeness” is an example of how state-driven democratization remains possible in an age described by some as “post-democratic.”
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Piderit, Maria Fernanda. "Poemas fotográficos de Magela Ferrero: resistencias de la imagen y la escritura en Personas que tienen hambre (2011)." Letrônica 12, no. 3 (2019): 34949. http://dx.doi.org/10.15448/1984-4301.2019.3.34949.
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El presente artículo trata una obra de la artista Uruguaya Magela Ferrero dedde el punto de vista de la literatura. Puesto que su obra se conforma apartir del uso del espacio, textos y fotografías, consideramos que los estudios intermediales nos ofrecen una herramienta apropiada para abordarla críticamente y, de esta manera, expandir los horizontes de la crítica literaria hacia objetos que hoy podemos denominar dentro de las categorías genéricas de literatura expandida o literatura hors du livre.*** Poemas fotográficos de Magela Ferrero: resistências da imagem e da escrita em Personas que tienen hambre (2011) *** Este artigo aborda a obra da artista uruguaia Magela Ferrero a partir da literatura. Dado que seu trabalho se conforma a partir do uso do espaço, de textos e de fotografias, consideramos que os estudos em multimeios oferecem uma ferramenta apropriada para abordá-la criticamente e, assim, expandir os horizontes da crítica literária para objetos que hoje se inserem em categorias genéricas como literatura expandida ou literatura “fora do livro” (hors du livre).Palavras-chave: Estudos multimeios; Literatura; Fotografia; Arte latino-americana.
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Giunta, Andrea. "Archives, Performance, and Resistance in Uruguayan Art Under Dictatorship." Representations 136, no. 1 (2016): 36–53. http://dx.doi.org/10.1525/rep.2016.136.1.36.
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Rial, Ana Paula. "Descubriendo los paisajes de Leandro Silva Delgado." Anales de Investigación en Arquitectura 5 (September 4, 2017): 59–74. http://dx.doi.org/10.18861/ania.2015.5.0.2647.
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Leandro Silva Delgado (1930, Salto - 2000, Segovia) es el paisajista uruguayo más importante internacionalmente pero casi un desconocido en nuestro país. Hizo estudios de arquitectura en Montevideo, una pasantía en Rio de Janeiro, con Burle Marx, y estudió paisajismo en Versalles. Comenzó su carrera en Madrid, donde fue el nexo de las nuevas corrientes; y proyectó más de 300 parques y jardines repartidos por el mundo.De todos estos su obra más personal es su jardín experimental en Segovia, el Romeral de San Marcos, y la más destacada la restauración del Real Jardín Botánico de Madrid.Volvió a Uruguay frecuentemente, donde llevó a cabo varios proyectos, especialmente en su Salto natal.No solo se limitó al paisajismo, tuvo una carrera de gran importancia como artista plástico y como docente, ya que formó a toda una generación de paisajistas españoles.
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Fraga Cotelo, Martín, Karen Perelmuter Schein, Sheila Solange Giacaman Salvo, Pablo Miguel Zunino Abirad, and Silvana Beatriz Carro Techera. "Antimicrobial properties of lactic acid bacteria isolated from uruguayan artisan cheese." Food Science and Technology (Campinas) 33, no. 4 (2013): 801–4. http://dx.doi.org/10.1590/s0101-20612013000400029.
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Garibotto, Verónica. "Revolution, Defeat, and Utopia: Artigas and the New Left in Uruguayan Theater." Revista de Estudios Hispánicos 47, no. 1 (2013): 127–49. http://dx.doi.org/10.1353/rvs.2013.0006.
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Fernández Tercero, Alma. "Galería en tributo al pintor costarricense Rafa Fernández (1935-2018)." ÍSTMICA Revista de la Facultad de Filosofía y Letras 1, no. 23 (2019): 69. http://dx.doi.org/10.15359/istmica.23.7.
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El pintor Rafael Ángel Fernández Piedra, fallecido en 2018, es considerado uno de los artistas más representativos de Costa Rica, cuya obra ha tenido también una proyección internacional considerable, al formar parte de la Colección del Museo José Luis Cuevas en Ciudad de México, así como de la Colección del Museo Rally de Arte Contemporáneo, en Punta del Este, Uruguay, entre otros. Obtuvo el premio Aquileo J. Echeverría en Artes Plásticas en 1968, 1972 y 1975, así como el premio Nacional de Cultura Magón en 2002, el más importante galardón que otorga el Estado costarricense en reconocimiento a una vida dedicada a la cultura. Como homenaje póstumo a este insigne creador, en esta edición la Revista Ístmica convierte su sección de Artes Visuales en una galería virtual dedicada a la exposición de parte de su obra, comentada sentidamente por su hija, la curadora y también artista, Alma Fernández.
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Albertoni, Pablo. "MERCANTILIZACIÓN Y AUTENTICIDAD EN LA FRONTERA URUGUAYO-BRASILEÑA: EL PORTUÑOL EN EL SIGLO XXI." Trabalhos em Linguística Aplicada 60, no. 2 (2021): 410–24. http://dx.doi.org/10.1590/010318131032051620210623.
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RESUMEN La situación sociolingüística de la frontera uruguayo-brasileña ha sido objeto de regulación por parte del Estado uruguayo desde finales del siglo XIX. A lo largo del siglo XX, se implementaron distintas políticas públicas, en particular educativas, para erradicar el portugués y su variedad dialectal, el portuñol. Con el impulso de los acuerdos político-lingüísticos asumidos con el MERCOSUR a fines del siglo pasado, el portugués comienza a representarse como símbolo de integración regional, en contradicción con el tradicional discurso prescriptivo. En el siglo XXI, el proyecto liderado por intelectuales y artistas de postular al portuñol como patrimonio cultural inmaterial de Uruguay ante UNESCO, en el contexto de una creciente producción y difusión de arte en portuñol, modifica el estatus de este recurso periférico tradicionalmente estigmatizado y asociado a las clases subordinadas de la sociedad fronteriza. La patrimonialización reconfigura procesos de inclusión y exclusión, al movilizar a los hablantes de la periferia socioeconómica para garantizar la autenticidad del portuñol. Por un lado, las estrategias que los activistas desarrollan para involucrar a los hablantes auténticos dan cuenta de los distintos portuñoles en circulación, en disputa, quiénes les atribuyen valor, quiénes se benefician y quiénes padecen estas dinámicas (cf. HELLER, 2011). Por otro, la consolidación de un nicho de mercado para la producción artística en portuñol tensiona el delicado equilibrio entre autenticidad y mercantilización, requisito para asegurar el valor de lucro de repertorios estigmatizados en la nueva economía globalizada.
Dissertations / Theses on the topic "Uruguayan Artists"
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Aguiar, José Fabiano Gregory Cardozo de. ""Yo vengo a cantar por aquellos que cayeron" : poesia política, engajamento e resistência na música popular uruguaia : o cancioneiro de Daniel Viglietti : 1967-1973." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/30597.
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O trabalho aborda a música popular uruguaia e a relação dos artistas engajados em determinadas causas políticas e sociais, de caráter revolucionário, com o processo de escalada autoritária no país durante o final da década de 60 e início dos anos 70. A pesquisa, portanto, se refere à música como manifestação social e política durante o período que precede o golpe militar no Uruguai, mais especificamente o período de conformação do Estado autoritário no país, durante os governos de Pacheco Areco (1967-71) e Juan Maria Bordaberry (1972 - Junho de 1973). A análise será centrada no cancioneiro de Daniel Viglietti, suas canções e poesia, bem como sua atuação e militância. Será levada em consideração a tradição da poesia política rioplantese, denominada gauchesca, e a relação desta com o cancioneiro popular produzido no período acima proposto. Tal relação pode ser entendida como uma apropriação de um discurso radical já presente na poesia política desde o século XIX que será utilizado pelos artistas engajados da década de 1960. Esta teria sido uma das estratégias de conscientização e luta de setores artísticos organizados em torno de propostas de mudança na região, em um primeiro momento, e de resistência e denúncia à escalada autoritária, em momento posterior. Também será realizada uma análise do papel do intelectual artista e de sua relação com a sociedade civil e movimentos políticos no período. Por fim, será feita a apresentação e análise do cancioneiro de Daniel Viglietti com a intenção de compreender sua produção artística a partir de temáticas que se inseriam nos debates e discussões políticas do período e de sua relação com as propostas de transformação estrutural das sociedades latinoamericanas – via reforma ou revolução.This project deals with the uruguaian popular music and the engaged artists relations with some of the social and political issues related with revolucionary causes, and the authoritarian escalade process in that country within the late 60's and early 70's. The research refers to music as a social and political manifestation during the period that preceds the military coup in Uruguay, more specificaly the period that the authoritarian State is raising, during Pacheco Areco's government (1967-71) and Juan Maria Bordaberry's government (1972 – June of 1973).The analisys is focused in Daniel Viglietti, his songs and poetry, as well as his actuation and militancy. In this analysis the tradition of the political poetry of the Rio da Prata region, called gauchesca, will be considered, as well as its relation with the poetry and the popular artists work during the studied period. The relation between both can be understood as the apropriation of an authoritarian speech that already existed in the political poetry since the nineteenth century, and that was used by the engaged artists of the 1960 decade as one of the strategies of awareness and struggle for changes, at first, and later on as a strategy of resistence and denouncement. The research will also analyse the intelectual artist role and its relation with the civil society and political movements that took place in that period. Finally, the research analyses Daniel Viglietti's work as an intent to comprehend his artistic prodution and its relation with the political contest and transformation proposals then existing.
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Pino, Cheroni-Fernandez Beatriz Joselyn. "L'oeuvre d'Eduardo Acevedo Díaz et la constitution de l'imaginaire national en Uruguay." Paris 3, 2008. http://www.theses.fr/2008PA030139.
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Cette thèse est consacrée à l’étude des romans historiques de l’écrivain uruguayen Eduardo Acevedo Díaz : Ismael (1888), Nativa (1890), Grito de gloria (1893) et Lanza y sable (1914). Ce travail est organisé en trois parties auxquelles s’ajoutent une Introduction et une Conclusion : 1 - La conception de l’histoire selon Eduardo Acevedo Díaz qui comprend l’étude du traitement des faits réels, ainsi que celle des personnages historiques. 2 - Autres aspects de l’écriture littéraire, à travers lesquels sont analysés les descriptions de la nature, le « costumbrismo », le traitement des personnages fictifs et divers aspects des instances narratives. 3 - L’œuvre : sa portée et ses résultats cette partie traite des conditions de la création de l’Etat uruguayen et des objectifs d’Acevedo Díaz : contribuer à la création d’une identité nationale et par conséquent à la constitution d’un imaginaire national. On y étudie les différents aspects de ce projet, en partant de l’exaltation des éléments naturels et de la geste indépendantiste pour aborder ensuite les différents aspects de la polémique et finir par la réhabilitation d’Artigas. Cette polémique nous a amené à prêter attention à l’œuvre de divers auteurs tant argentins qu’uruguayens qui à l’époque décrièrent la lutte pour l’indépendance et ses héros, en particulier José Artigas. Eduardo Acevedo Díaz s’investit donc dans l’élaboration d’une légende blanche, tout en discréditant ceux qui s’y opposaientThis thesis centres on the study of the historical novels of Uruguayan writer Eduardo Acevedo Diaz: Ismael (1888), Nativa (1890), Grito de gloria (1893) and Lanza y sable (1914). It comprises three parts, in addition to the Introduction and the Conclusion: 1 - Eduardo Acevedo Diaz’s conception of history. This part includes the study of the way in which real facts as well as historical characters are portrayed. 2 - Other aspects of literary writing. In this part the descriptions of nature, the “costumbrismo” and the treatment of different aspects of the narrative instance are analysed. 3 - The works: their scope and significance. This part deals with the circumstances of the creation of the Uruguayan State and Acevedo Diaz’s objectives: contributing to the creation of a national identity and therefore to the shaping of the national imagination. Different aspects of this project are discussed, from the exaltation of geography and the epic of the independence movement, through different controversies, to the rehabilitation of José Artigas. The controversies lead to the examination of various writers – Argentine as well as Uruguayan – who, at the time, violently attacked the fight for independence and its heroes, in particular José Artigas. Thus, Eduardo Acevedo Diaz devotes himself to the creation of a white legend and refutes opposing views
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Sordi, Gabriel Souza. "El protector y su pueblo libre : a representação do caudilho Jose Artigas no centenario de sua morte (1950)." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278671.
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Orientador: Jose Alves de Freitas NetoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A presente dissertação analisa como foi apresentado o prócer uruguaio José Artigas nos artigos publicados por historiadores, intelectuais e escritores no jornal El País, durante o mês de setembro de 1950, em que se comemorou o centenário de sua morte. Para isso, previamente foram elucidadas questões concernentes ao discurso pátrio latino-americano e à apresentação e rememoração dos heróis responsabilizados pela conquista das independências na América Hispânica - bem como uma análise dos três tomos da obra José Artigas: Alegato Histórico (1909-10), de Eduardo Acevedo Vásquez, que auxiliou a configurar, no início do século XX, a figura de Artigas como herói máximo uruguaio.
Abstract: This study analyses how the uruguaian hero José Artigas was presented in articles published by historians, intellectuals and writers in the newspaper El País, over 1950' september, during the commemoration of his centennial's death. To base the discussion, first was expatietan questions about the latin-american nationalism's discourse and questions about the recall and presentation of the latin-american heroes of the independences from Spanish - beyond a analysis of the three tomes of José Artigas: Alegato Histórico (1909-10), a Eduardo Acevedo Vásquez' work, who helps to configurate in Uruguay, in the beginning of XX' century, the image of Artigas like the utmost uruguaian heroe.
Mestrado
Historia Cultural
Mestre em História
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Comiran, Fernando [UNESP]. "Os cenários políticos da intervenção portuguesa na Banda Oriental do Uruguai (1811 e 1816)." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/93368.
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Na segunda década do século XIX, a região platina, zona de intersecção entre os impérios lusitano e hispânico na América Meridional ao longo de já alguns séculos, tornou-se palco, dentro da força motriz das independências hispano-americanas, de uma onda de movimentos e agitamentos políticos contundentes: o próprio processo independentista bonaerense, o movimento federalista de José Gervásio Artigas e, articulando-se a tais episódios, o sempre presente projeto português de ocupação da Banda Oriental, o qual foi materializado com as intervenções de 1811 e 1816. Neste trabalho serão apresentados os contextos políticos que cercavam os espaços políticos envolvidos nestas duas ações militares de Portugal. A Europa era afetada pelos ideais e práticas do imperialismo napoleônico e na península ibérica a crise política se aprofundava ao mesmo tempo em que os movimentos de resistência cresciam. A região platina, por sua vez, recebia as influências políticas desse cenário: a crise de legitimidade dinástica após o aprisionamento de Fernando VII, os movimentos revolucionários e o audaz projeto de Carlota Joaquina para se tornar Regente da Espanha formaram um ambiente propício para que a diplomacia portuguesa tornasse o antigo projeto expansionista lusitano uma realidade. Assim, neste trabalho buscar-se-á reconstruir os episódios políticos que cercaram e, até mesmo, motivaram as duas intervenções portuguesas na Banda Oriental do Uruguai.
During the second decade of the XIX century, the platine region intersecting the Portuguese and Spanish empires in the Meridional America, as a result of Spanish and American independence, became the center of a wave of important political movements and agitations: the independence actions in Buenos Aires, the federalist campaign of José Gervásio Artigas, and, cunningly articulated with such events, the permanently present Portuguese project of occupying the Eastern Zone, which was materialized by interventions that took place in 1811 and 1816. The political context associated to the political spaces involved in these two military actions undertaken by Portugal will be presented in this paper. The ideals disseminated by Napoleonic imperialism were affecting Europe, while the political crisis was aggravated and the resistence movements increased in the Iberian peninsula. The platine region was affected by the political actions under way in this such scenario: the dynastic legitimacy crisis following the imprisonment of Fernando VII, the revolutionary movements, and the daring project of Carlota Joaquina to became the Regent of Spain composed a favorable environment for the Portuguese diplomacy to implement its old expansionist project. Therefore, the reconstruction of the political events surrounding – and even motivating – both Portuguese interventions in the Eastern Zone of Uruguay will be sought in this paper.
Books on the topic "Uruguayan Artists"
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Biblioteca del Poder Legislativo (Uruguay). Diccionario de artistas plásticos en el Uruguay. 2nd ed. Librería Linardi y Risso, 1992.
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Entrevista con el arte uruguayo. Bianchi Editores, 2005.
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Huertas, Carlos M. Britos. Reflexiones sobre nuestro arte actual y comentarios sobre 4 artistas jóvenes. Galería Bruzzone, 1986.
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Galería de las Misiones (José Ignacio, Maldonado, Uruguay), ed. Los '60: El arte en el Uruguay de los años '60. Galería de las Misiones, 2009.
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Battegazzore, María L. Pedro Figari: Tradición y utopía. Editorial Psicolibros Waslala, 2010.
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Pormenores políticos y afines: Gráfica política de los años 60 y 70. Centro de Documentación, Fundación Manuel Espínola Gómez, 2009.
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De tierra adentro: Escritores, músicos y artistas plásticos del interior uruguayo. Planeta, 2011.
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1898-1950, Simone Alfredo de, and Testoni Studios, eds. De Simone, Los Planistas. El País, 2011.
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Barrios, Arturo Zamudio. Artigas y los hombres de hoy: 2007-2009. Moglia Ediciones, 2010.
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Michelena, Alejandro. Magos de las palabras y de las formas: Retratos y perfiles de escritores, pensadores y artistas uruguayos y rioplatenses. Arca, 2006.
Book chapters on the topic "Uruguayan Artists"
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Dunn, Christopher. "Power and Joy." In Contracultura. University of North Carolina Press, 2016. http://dx.doi.org/10.5149/northcarolina/9781469628516.003.0001.
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The Introduction discusses the term “counterculture” in relation to diverse historical contexts to refer to individual and collective resistance to political authority, social conventions, or established aesthetic values. To illustrate some of the values and concerns of the counterculture, the author discusses three poems associated with poesia marginal in Brazil. While noting its theoretical formulation in relation to youth culture and dissent in the United States during the 1960s, the author shows how the term applied to diverse Latin American contexts during the Cold War period, notably Mexico, Argentina, Uruguay, and Chile. In relation to Brazil, I discuss the counterculture in relation to the the rise of an authoritarian military that stifled civil society dissent and censored artistic expression, producing what some critics called the vazio cultural, or “cultural void.” Finally, I show how the counterculture emerged with Tropicália, an artistic movement that coalesced in 1968 with particular strength in the field of popular music.
Conference papers on the topic "Uruguayan Artists"
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AMARAL, LILIAN, Laurita Salles, and Cleomar Rocha. "HolosCi(u)dad(e). Prácticas artísticas en redes a partir de las experiencias performativas, interactivas y multisensoriales entre territorios." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9614.
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Plataforma internacional iberoamericana de co-investigación en arte tecnológico, propone la articulación entre Geopoética, prácticas artísticas, memoria y nuevos medios. Se configura como organismo vivo, distribuido, en permanente co-elaboración, actuando en el campo de las narrativas artísticas contemporáneas a partir de las experiencias performativas, interactivas y multisensoriales entre territorios. El proyecto HolosCi(u)dad(e) es el resultado del proceso de investigación y creación poética, emerge de un hacer co-autoral, y opera con base en concepciones deleuzeanas de devenir y multiplicidad, y de autopoiesis propuestas por Maturana y Varela (1994). HolosCi(u)dad(e) está coordenado por la artista y investigadora Lilian Amaral (Media Lab UFG) resultado de la propuesta de curaduría de Residencia Artística Ecosistemas Transversales y Conectividad - Holos, celebrada en el V Simposio Internacional de Innovación en Medios Interactivos, Media Lab/UFG, Brasil. HolosCi[u]dad[e] reúne elementos audiovisuales que emergen de cartografías sonoras y visuales urbanas, estableciendo conexión entre los diversos núcleos de investigación actuantes en contexto iberoamericano. Se apropia de la estructura “Paredão” automotriz como "dispositivo intensificador de experiencias", investigación realizada por la artista e investigadora Laurita Salles (UFRN / Media Lab UFG). La obra performativa utilizó la estructura de una camioneta automotriz sonorizada, presentada en área externa del Museo Nacional de la Ciudad de Brasilia. En la apertura del Simposio Internacional # 17ART y de la exposición En Medio # 10, integrando registros visuales y sonoros creados y proyectados durante el desempeño de apertura, con la participación de la Orquesta de Laptops, UnB. Al apropiarse de sonidos oriundos de los territorios donde están ubicados los núcleos de investigación - Brasil, Uruguay, Colombia, España e China, HolosCi(u)dad(e) - http://holos.espai214.org/ - adquiere una dimensión golcal (ANJOS, 2005), en que una nueva orden mundial altera las formas de representación de identidades y cultura, a partir del espacio practicado (CERTEAU, 1994; SANTOS, 2000), cargado de memoria (MARTIN-BARBERO,2017), configurando un lugar utópico, convergente. Se refiere al pasaje del modelo de "posesión y custodia" al de "acceso y compartir".
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Musso Laespiga, Marcos, and Leonardo Behak Katz. "Performance of Low-Volume Roads with Wearing Course Layer of Silty Sandy Soil Modified with Rice Husk Ash and Lime." In CIT2016. Congreso de Ingeniería del Transporte. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/cit2016.2016.3451.
Full textAbstract:
Rice husk ash (RHA) is a by-product of rice milling. Its use as soil stabilizer is a way to replace the final disposal with environmental benefit. However, RHA is not cementitious itself but when mixed with lime forms cements which improve the soil properties. A research of performance of a silty sandy soil modified with RHA and lime as wearing course layer of low-volume roads was conducted through two full-scale test sections with different pavements built in Artigas, northern Uruguay. The alkaline reactivity of RHA is low because the husk burning is not controlled. The soil-RHA-lime mix design was conducted according to the Thompson’s Method. The pavement test sections were monitored through deflection measures by Benkelman beam and observations of surface condition. The deflections decreased over time in both test sections due to the development of cementation of the study materials. After one year, the dust emission was reduced, the wet skid resistance of pavement surfaces improved and there was not rutting. The researched pavements have had a good performance under the existing traffic and environmental conditions, demonstrating that wearing course layer of silty sand modified with RHA and lime is an alternative to improve the condition of low-volume roads and to replace the final disposal of RHA, with environmental, social and economic benefits.DOI: http://dx.doi.org/10.4995/CIT2016.2016.3451