
Barcelona
Description
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Content
- Intro
- Series Editors' Foreword
- Acknowledgements
- List of Illustrations
- List of Contributors
- Introduction: 'Butterflying Barcelona'
- Part I: Avant-Garde Histories and Catalonia
- Chapter 1: Breaking Boundaries: A Journey through the Catalan Avant-Garde
- Chapter 2: On the Starfish Road: Surrealism and the Paris-Barcelona Connection
- Chapter 3: The Lyrical Taboos of Guillem Viladot
- Chapter 4: Cafè Central: a groundbreaking independent publishing house in Barcelona. Interview with
- Part II: Butterflying Barcelona: The Environment
- Chapter 5: The Case for Obsolescence: Thinking Time and Space in Joaquim Jordà's Numax presenta
- Chapter 6: Whose Vanguardist City? The Barcelona Urban Model as Seen from the Periphery in José Luis
- viChapter 7: The Raval on Stage: Limits and Borders in Juan Mayorga's Hamelin
- Chapter 8: Translating the Enigma: Temporality and Subjectivity in Ventura Pons's Barcelona: un mapa
- Chapter 9: Empowerment by Visualization: Experiences from Barcelona
- Part III: Performing Barcelona
- Chapter 10: Tracing the City through the URBS Project
- Chapter 11: Performing Barcelona: Cultural Tourism, Geography and Identity
- Chapter 12: Absent Bodies and Objects
- Chapter 13: A Broken Mirror? Global-Local Images of Barcelona
- Chapter 14: Talking about Visual Poetry: Interviews with J. M. Calleja, Gustavo Vega and Xavier Cana
- Works Cited
- Figure 0.1. Xavier Canals during action poem 'Butterflying Barcelona', 15 March 2008. Photograph by
- Figure 1.1. 'Electrographic Poem' by Xavier Canals, for the Festival de Poesia Visual dels Països Ca
- Figure 1.2. 'Voyeur' by J. M. Calleja, 1978.
- Figure 1.3. Tarot cards by J. M. Calleja, Xavier Canals and Gustavo Vega. Image used for exhibition
- Figure 2.1. The Dalí brand used as part of a Turespaña campaign - 'Spain Marks'. Courtesy of TURESPA
- Figure 3.1. Object poem from the collection 'SELF', by Guillem Viladot. Courtesy of Fundació Lo Pard
- Figure 3.2. Figure 2. Object poem by Guillem Viladot, later entitled 'El principi del plaer'. Courte
- Figure 5.1. 'Celebrating the end of the Numax experience of self-management'. Still from Numax prese
- Figure 5.2. 'The space of work re-signified as lived space'. Still from Numax presenta, 1980. Courte
- Figure 5.3. 'Vacated space of work'. Still from Numax presenta, 1980. Courtesy of María Antonia Madr
- Figure 6.1. 'Barcelona's industrial chimneys transformed'. Still from En construcción. Courtesy of T
- Figure 6.2. ' Juani and Ivan's hands'. Still from En construcción. Courtesy of TV Ovideo.
- Figure 6.3. 'Barcelona's shadows'. Still from En construcción. Courtesy of TV Ovideo.
- Figure 7.1. The Romea Theatre in Carrer de l'Hospital, Barcelona. Courtesy of Animalario.
- Figure 7.2. Press photograph from Animalario production of Juan Mayorga's Hamelin. Courtesy of Anima
- Figure 8.1. Poster for Ventura Pons's Barcelona (un mapa). Courtesy of Ventura Pons.
- Figure 8.2. Characters screaming in front of Sagrada Família. Still from Barcelona (un mapa). Courte
- Figure 9.1. Women being trained as workshop moderators by the Institut Català de les Dones, 2004.
- Figure 9.2. Visualizing the city as a comfortable place for sports.
- Figure 9.3. Comparing the mobility patterns in Barcelona.
- Figure 9.4. Preparing for role play, identifying key arguments for each of the stakeholders. Photogr
- Figure 9.5. Choosing priorities from a longlist of items to improve the living environment.
- Figure 9.6. Representation of Plaça del Carme, Barcelona.
- Figure 9.7. Rare example of visualization without spatial dimension or critical reflection.
- Figure 10.1. Image from 'Geografies', part of Solo por placer. Photographed by Ros Ribas. Courtesy o
- Figure 10.2. Still from the 'movies' created for the URBS project. An urban intervention by dancers
- Figure 10.3. Stills from the performances of URBS#1/Casting.
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