{"id":2467,"date":"2022-10-11T19:36:28","date_gmt":"2022-10-11T19:36:28","guid":{"rendered":"https:\/\/www.ub.edu\/gapp\/?page_id=2467"},"modified":"2022-10-11T19:52:56","modified_gmt":"2022-10-11T19:52:56","slug":"converses-2021-2022","status":"publish","type":"page","link":"https:\/\/www.ub.edu\/gapp\/activitats\/converses-2021-2022\/","title":{"rendered":"Converses 2021-2022"},"content":{"rendered":"

[et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb background_image=\u00bbhttps:\/\/www.ub.edu\/gapp\/wp-content\/uploads\/2021\/01\/cabcera-imagen-milans.jpg\u00bb background_position=\u00bbbottom_left\u00bb collapsed=\u00bbon\u00bb][et_pb_row column_structure=\u00bb1_2,1_2″ _builder_version=\u00bb4.8.2″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb||||false|false\u00bb custom_css_main_element=\u00bbdisplay: flex;||align-items:center;\u00bb custom_css_main_element_last_edited=\u00bbon|desktop\u00bb custom_css_main_element_tablet=\u00bb \u00ab][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb transform_scale_linked=\u00bboff\u00bb transform_translate_tablet=\u00bb0px|0%\u00bb transform_translate_phone=\u00bb0px|0%\u00bb transform_translate_last_edited=\u00bbon|tablet\u00bb transform_translate_linked=\u00bboff\u00bb custom_margin=\u00bb||||false|false\u00bb custom_margin_tablet=\u00bb||||false|false\u00bb custom_margin_phone=\u00bb\u00bb custom_margin_last_edited=\u00bbon|tablet\u00bb custom_css_main_element=\u00bb||\u00bb]<\/p>\n

CONVERSES 2021-2022<\/h1>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb text_text_color=\u00bb#FFFFFF\u00bb background_color=\u00bb#0B280B\u00bb text_orientation=\u00bbcenter\u00bb width=\u00bb40px\u00bb module_alignment=\u00bbleft\u00bb min_height=\u00bb40px\u00bb animation_style=\u00bbzoom\u00bb custom_css_main_element=\u00bbdisplay:flex;||flex-direction: column;||justify-content: center;\u00bb border_radii=\u00bbon|100%|100%|100%|100%\u00bb]<\/p>\n

CAT<\/p>\n

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Les converses son un espai obert de di\u00e0leg on una o v\u00e0ries persones comparteixen els seus coneixements amb un p\u00fablic divers.<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.8.2″ _module_preset=\u00bbdefault\u00bb text_text_color=\u00bb#FFFFFF\u00bb background_color=\u00bb#0B280B\u00bb text_orientation=\u00bbcenter\u00bb width=\u00bb40px\u00bb module_alignment=\u00bbleft\u00bb min_height=\u00bb40px\u00bb animation_style=\u00bbzoom\u00bb custom_css_main_element=\u00bbdisplay:flex;||flex-direction: column;||justify-content: center;\u00bb border_radii=\u00bbon|100%|100%|100%|100%\u00bb]<\/p>\n

ES<\/p>\n

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Las converses son un espacio abierto de di\u00e1logo donde una o varias personas comparten su conocimiento con un p\u00fablico diverso.<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.8.2″ _module_preset=\u00bbdefault\u00bb text_text_color=\u00bb#FFFFFF\u00bb background_color=\u00bb#0B280B\u00bb text_orientation=\u00bbcenter\u00bb width=\u00bb40px\u00bb module_alignment=\u00bbleft\u00bb min_height=\u00bb40px\u00bb animation_style=\u00bbzoom\u00bb custom_css_main_element=\u00bbdisplay:flex;||flex-direction: column;||justify-content: center;\u00bb border_radii=\u00bbon|100%|100%|100%|100%\u00bb]<\/p>\n

EN<\/p>\n

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Converses are an open space for dialogue where one or several people share their knowledge with a diverse audience.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb background_color=\u00bb#e0dac3″ collapsed=\u00bbon\u00bb][et_pb_row column_structure=\u00bb1_2,1_2″ use_custom_gutter=\u00bbon\u00bb make_equal=\u00bbon\u00bb _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/gapp\/wp-content\/uploads\/2022\/03\/Conversa_23-03-2022_Arqueologia_Amazonia.png\u00bb alt=\u00bbPresentaci\u00f3 llibre: \u201cLa Guerra del Fenicio. Arqueolog\u00eda, pol\u00edtica, y turismo en el \u00faltimo Rinc\u00f3n de Europa\u201d (JAS Arqueolog\u00eda) \u00bb title_text=\u00bbConversa_23-03-2022_Arqueologia_Amazonia\u00bb _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||0px||false|false\u00bb][et_pb_text _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb link_font=\u00bb||||on||||\u00bb header_2_text_align=\u00bbleft\u00bb header_2_font_size=\u00bb31px\u00bb min_height=\u00bb106px\u00bb custom_margin=\u00bb0px||||false|false\u00bb header_2_font_size_tablet=\u00bb\u00bb header_2_font_size_phone=\u00bb25px\u00bb header_2_font_size_last_edited=\u00bbon|desktop\u00bb]<\/p>\n

Arqueolog\u00eda en la Amazonia Sur: patrimonio cultural, conflictos y resistencias, Rond\u00f4nia, Brasil.
\n<\/h2>\n

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Convidats\/Invitados: Dra. Juliana R. Santi, Profesora del Departamento de Arqueolog\u00eda de la Universidad Federal de Rond\u00f4nia\n<\/p>\n

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23 mar\u00e7 \/marzo 2022, 6 pm (CEST)<\/p>\n

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Lloc\/ Lugar: Online \u2013 Zoom<\/a><\/p>\n

[\/et_pb_text][et_pb_button button_url=\u00bbhttps:\/\/ub-edu.zoom.us\/j\/98017776761%20″ url_new_window=\u00bbon\u00bb button_text=\u00bbEnlla\u00e7 \/ Enlace\u00bb _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb collapsed=\u00bbon\u00bb][et_pb_row column_structure=\u00bb1_3,1_3,1_3″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb text_text_color=\u00bb#FFFFFF\u00bb background_color=\u00bb#0B280B\u00bb text_orientation=\u00bbcenter\u00bb width=\u00bb40px\u00bb module_alignment=\u00bbleft\u00bb min_height=\u00bb40px\u00bb animation_style=\u00bbzoom\u00bb custom_css_main_element=\u00bbdisplay:flex;||flex-direction: column;||justify-content: center;\u00bb border_radii=\u00bbon|100%|100%|100%|100%\u00bb]<\/p>\n

CAT<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb]La regi\u00f3 del sud de la Amaz\u00f2nia, Rond\u00f4nia, Brasil, t\u00e9 restes arqueol\u00f2giques d’ocupaci\u00f3 humana cont\u00ednua durant els \u00faltims mil\u00b7lennis. Estudis arqueol\u00f2gics recents han estudiat societats passades i contempor\u00e0nies i han ent\u00e8s que, per exemple, els grups socials dominants exerceixen autoritat en la definici\u00f3 dels par\u00e0metres de valor cultural, declarant com no est\u00e8tiques les formes de vida de les comunitats tradicionals (siguin comunitats ind\u00edgenes, quilombolas o ribeirinhas), tant acad\u00e8micament com en consultoria ambiental i en relaci\u00f3 a pol\u00edtiques p\u00fabliques. En aquest sentit, hem fomentat l’aproximaci\u00f3 entre l’acad\u00e8mia i la comunitat amb la finalitat de desenvolupar noves actituds, coneixements i percepcions sobre el patrimoni cultural i la seva pr\u00f2pia hist\u00f2ria, fonamentant te\u00f2ricament les activitats dins la metodologia d’Educaci\u00f3 Patrimonial, d’Arqueologia P\u00fablica i emfatitzant aspectes descolonials, antirracistes i feministes. El treball desenvolupat avui a l\u2019Amaz\u00f2nia Sud ha estat problematizar les percepcions d’aquest passat que va utilitzar la construcci\u00f3 de ciutats per a promoure la massacre de pobles ind\u00edgenes i \u00absubalterns\u00bb (dones i homes privats de veu i hist\u00f2ria), i q\u00fcestionant fins a quin punt les refer\u00e8ncies culturals d’aquest per\u00edode poden suscitar discussions sobre l’actual proc\u00e9s d’ocupaci\u00f3 i exploraci\u00f3 del territori amaz\u00f2nic, i les seves alarmants conseq\u00fc\u00e8ncies per al futur pr\u00f2xim, a partir de les aportacions que l’arqueologia pot plantejar.
\nEnlla\u00e7: https:\/\/ub-edu.zoom.us\/j\/98017776761 <\/a>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb text_text_color=\u00bb#FFFFFF\u00bb background_color=\u00bb#0B280B\u00bb text_orientation=\u00bbcenter\u00bb width=\u00bb40px\u00bb module_alignment=\u00bbleft\u00bb min_height=\u00bb40px\u00bb animation_style=\u00bbzoom\u00bb custom_css_main_element=\u00bbdisplay:flex;||flex-direction: column;||justify-content: center;\u00bb border_radii=\u00bbon|100%|100%|100%|100%\u00bb]<\/p>\n

ES<\/p>\n

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La regi\u00f3n del sur de la Amazon\u00eda, Rond\u00f4nia, Brasil, tiene restos arqueol\u00f3gicos de ocupaci\u00f3n humana continua durante los \u00faltimos milenios. Estudios arqueol\u00f3gicos recientes han estudiado sociedades pasadas y contempor\u00e1neas y han entendido que, por ejemplo, los grupos sociales dominantes ejercen autoridad en la definici\u00f3n de los par\u00e1metros de valor cultural, declarando como no est\u00e9ticos las formas de vida de las comunidades tradicionales (sean comunidades ind\u00edgenas, quilombolas o ribeirinhas), tanto acad\u00e9micamente como en consultor\u00eda ambiental y en relaci\u00f3n a pol\u00edticas p\u00fablicas. En este sentido, hemos fomentado la aproximaci\u00f3n entre la academia y la comunidad con el fin de desarrollar nuevas actitudes, conocimientos y percepciones sobre el patrimonio cultural y su propia historia, fundamentando te\u00f3ricamente las actividades dentro de la metodolog\u00eda de Educaci\u00f3n Patrimonial, Arqueolog\u00eda P\u00fablica enfatizando aspectos descoloniales, anti- racistas y feministas. El trabajo desarrollado hoy en la Amazon\u00eda Sur ha sido problematizar las percepciones de este pasado que utiliz\u00f3 la construcci\u00f3n de ciudades para promover la masacre de pueblos ind\u00edgenas y \u00absubalternos\u00bb (mujeres y hombres privados de voz e historia), y cuestionando hasta qu\u00e9 punto las referencias culturales de ese per\u00edodo pueden suscitar discusiones sobre el actual proceso de ocupaci\u00f3n y exploraci\u00f3n del territorio amaz\u00f3nico, y sus alarmantes consecuencias para el futuro cercano, a partir de los aportes que la arqueolog\u00eda puede plantear.
\nEnlace: https:\/\/ub-edu.zoom.us\/j\/98017776761 <\/a><\/p>\n

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EN<\/p>\n

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The southern Amazon region of Rond\u00f4nia, Brazil has archaeological remains of continuous human occupation over the last millennia. Recent archaeological studies have studied past and contemporary societies and have understood that, for example, the dominant social groups exercise authority in defining the parameters of cultural value, declaring the ways of life of traditional communities (whether indigenous communities, quilombolas or ribeirinhas) as non-aesthetic, both academically and in environmental consulting and in relation to public policies. In this sense, we have fostered the approximation between academia and the community in order to develop new attitudes, knowledge and perceptions about cultural heritage and its own history, theoretically grounding the activities within the methodology of Heritage Education, Public Archaeology emphasizing decolonial, anti-racist and feminist aspects. The work developed today in the Southern Amazon has been to problematize the perceptions of this past that used the construction of cities to promote the massacre of indigenous peoples and \u00absubalterns\u00bb (women and men deprived of voice and history), and questioning to what extent the cultural references of that period can raise discussions about the current process of occupation and exploration of the Amazonian territory, and its alarming consequences for the near future, from the contributions that archaeology can raise.
\nLink: https:\/\/ub-edu.zoom.us\/j\/98017776761 <\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb background_color=\u00bb#e0dac3″ collapsed=\u00bbon\u00bb][et_pb_row column_structure=\u00bb1_2,1_2″ use_custom_gutter=\u00bbon\u00bb make_equal=\u00bbon\u00bb _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_image src=\u00bbhttps:\/\/www.ub.edu\/gapp\/wp-content\/uploads\/2022\/01\/19-01-2022_Conversa_Patrimonial_GAPP_Pinturas_Murales_Prehispanicas.png\u00bb alt=\u00bbPresentaci\u00f3 llibre: \u201cLa Guerra del Fenicio. Arqueolog\u00eda, pol\u00edtica, y turismo en el \u00faltimo Rinc\u00f3n de Europa\u201d (JAS Arqueolog\u00eda) \u00bb title_text=\u00bb19-01-2022_Conversa_Patrimonial_GAPP_Pinturas_Murales_Prehisp\u00e1nicas\u00bb _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||0px||false|false\u00bb][et_pb_text _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb link_font=\u00bb||||on||||\u00bb header_2_text_align=\u00bbleft\u00bb header_2_font_size=\u00bb31px\u00bb min_height=\u00bb106px\u00bb custom_margin=\u00bb0px||||false|false\u00bb header_2_font_size_tablet=\u00bb\u00bb header_2_font_size_phone=\u00bb25px\u00bb header_2_font_size_last_edited=\u00bbon|desktop\u00bb]<\/p>\n

\u00a0Pinturas murales prehisp\u00e1nicas en la Sierra de Madrid. Hacia una Arqueolog\u00eda Fake.
\n<\/h2>\n

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Convidats\/Invitados: Jes\u00fas Mart\u00edn Alonso y Natalia Moragas Segura\n<\/p>\n

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19 gener \/enero 2022, 6 pm (CEST)\n<\/p>\n

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Lloc\/ Lugar: Online i presencial en el Seminari de Prehist\u00f2ria i Arqueologia (1\u00aa planta de la Facultat de Geografia i Hist\u00f2ria, UB Raval).<\/p>\n

[\/et_pb_text][et_pb_button button_url=\u00bbhttps:\/\/youtu.be\/nxH7zvKGOpI\u00bb url_new_window=\u00bbon\u00bb button_text=\u00bbEnlla\u00e7 \/ Enlace\u00bb _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb locked=\u00bboff\u00bb collapsed=\u00bbon\u00bb][et_pb_row column_structure=\u00bb1_3,1_3,1_3″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb1_3″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb text_text_color=\u00bb#FFFFFF\u00bb background_color=\u00bb#0B280B\u00bb text_orientation=\u00bbcenter\u00bb width=\u00bb40px\u00bb module_alignment=\u00bbleft\u00bb min_height=\u00bb40px\u00bb animation_style=\u00bbzoom\u00bb custom_css_main_element=\u00bbdisplay:flex;||flex-direction: column;||justify-content: center;\u00bb border_radii=\u00bbon|100%|100%|100%|100%\u00bb]<\/p>\n

CAT<\/p>\n

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Quan vam arribar al lloc, vam poder veure uns graons mal constru\u00efts que acabaven en una esp\u00e8cie de plataforma de terra delimitada per un mur de ma\u00e7oneria d’un metre d’al\u00e7ada. I al fons, a la paret de roca que servia de l\u00edmit nord al tancat, hi havia les pintures. Almenys vuit pintures havien estat directament dibuixades a la roca de granit com si guarnissin un refugi natural, una esquerda entre dues roques que semblava l’entrada a una gran cova. Eren pintures asteques, maies, tolteques? De la mateixa manera, qu\u00e8 hi feien all\u00e0, en aquella roca d’aquell parc natural de Madrid, Espanya, enmig d\u2019enlloc? Qui i quan les van pintar? Amb quin prop\u00f2sit? Vam fer algunes fotos amb el m\u00f2bil i seguirem l’excursi\u00f3 d’aquell dia, per\u00f2 aquella estranya troballa seguia molt present al meu cap.
\nL’objectiu d’aquesta xerrada \u00e9s revelar tot el que sabem avui sobre aquestes pintures i explicar com vam afrontar la intervenci\u00f3 arqueol\u00f2gica durant diversos dies d’estiu de 2020. Tamb\u00e9 es justificar\u00e0 per qu\u00e8 \u00e9s un lloc perfecte per ser estudiat des del marc te\u00f2ric de l’arqueologia fake.\n<\/p>\n

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ES<\/p>\n

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Cuando llegamos hasta el lugar, pudimos ver unos escalones mal construidos que terminaban en una especie de plataforma de tierra delimitada por un muro de mamposter\u00eda de un metro de altura. Y al fondo, en la pared de roca que serv\u00eda de l\u00edmite norte al cercado, estaban las pinturas. Al menos ocho pinturas hab\u00edan sido directamente dibujadas en la roca de granito como guarneciendo un refugio natural, una brecha entre dos rocas, que parec\u00eda la entrada a una gran cueva. \u00bfEran pinturas aztecas, mayas, toltecas? De igual manera, \u00bfqu\u00e9 hac\u00edan all\u00ed en aquella roca de aquel parque natural en Madrid, Espa\u00f1a, en medio de ninguna parte? \u00bfQui\u00e9nes y cuando las pintaron? \u00bfCon qu\u00e9 prop\u00f3sito? Hicimos algunas fotos con el m\u00f3vil y seguimos la excursi\u00f3n de aquel d\u00eda, pero aquel extra\u00f1o encuentro segu\u00eda muy presente en mi cabeza.
\nEl objetivo de esta charla es desvelar todo lo que sabemos hoy acerca de estas pinturas y explicar c\u00f3mo afrontamos la intervenci\u00f3n arqueol\u00f3gica durante varios d\u00edas en el verano de 2020, as\u00ed como explicar por qu\u00e9 es un lugar perfecto para estudiarlo desde el marco te\u00f3rico de la arqueolog\u00eda fake.<\/p>\n

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EN<\/p>\n

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We came across a lousy preserved stair that led to an enclosure surrounded by a wall and, at the very end, the astonishing paintings. At least eight different paintings had been drawn directly in the granite rocks guarding a natural shelter that seems to be the entrance of a dark cave. Were they Aztecs, Mayans, Toltecs? However, what were they doing there, in Madrid, in Spain, in the middle of nowhere? Who painted them? When? For what purpose? We took some photos with the mobile phone and kept on walking. This strange encounter already trapped my head.
\nThe aim of this talk is to reveal everything we know today about these paintings and to explain how we approached the archaeological intervention during several days in the summer of 2020, as well as to explain why it is a perfect place to study within the theoretical framework of fake archaeology.<\/p>\n

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\u00a0#Deep_Talks \u00b421<\/h2>\n

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21 octubre\/2021, 7 pm (CET)<\/p>\n

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Zoom<\/p>\n

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CAT<\/p>\n

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Ens complau convidar-vos, de nou a la inauguraci\u00f3 del cicle #Deep_Talks<\/strong>,una s\u00e8rie de confer\u00e8ncies vinculades al projecte Curbatheri Deep Cities<\/strong> (https:\/\/curbatheri.niku.no\/) en el qual participem des de la Universitat de Barcelona i el Grup d\u2019Arqueologia P\u00fablica i Patrimoni (GAPP, https:\/\/www.ub.edu\/gapp\/). Ser\u00e0 el proper 27 d\u2019octubre a les 7 pm CET a la plataforma Zoom. En aquesta ocasi\u00f3 comptem amb les \u201cRestauradoras con Glitter\u201d<\/strong>, un col\u00b7lectiu de professionals i activistes multidisciplinars, vinculades a l’\u00e0mbit del Patrimoni Cultural amb perspectiva de g\u00e8nere, ubicades a M\u00e8xic.<\/p>\n

Enlla\u00e7:<\/p>\n

https:\/\/ub-edu.zoom.us\/j\/95527114092?pwd=Nmt0cG9yV0o5eExIZXkzcjltazJ5QT09<\/p>\n

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ES<\/p>\n

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Nos complace invitarles, de nuevo tras un incidente t\u00e9cnico, a la inauguraci\u00f3n del ciclo #Deep_Talks<\/strong> una serie de conferencias vinculadas al proyecto Curbatheri Deep Cities<\/strong> (https:\/\/curbatheri.niku.no\/) en el que participamos desde la Universitat de Barcelona y el Grup d\u2019Arqueologia P\u00fablica i Patrimoni (GAPP, https:\/\/www.ub.edu\/gapp\/). Ser\u00e1 el pr\u00f3ximo 27 de octubre a las 7 pm CET. Para esta ocasi\u00f3n contamos con las \u201cRestauradoras con Glitter\u201d<\/strong>, un colectivo de profesionales y activistas multidisciplinares, vinculadas al \u00e1mbito del Patrimonio Cultural con perspectiva de g\u00e9nero, ubicadas en M\u00e9xico.<\/p>\n

Enlace:<\/p>\n

https:\/\/ub-edu.zoom.us\/j\/95527114092?pwd=Nmt0cG9yV0o5eExIZXkzcjltazJ5QT09<\/p>\n

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EN<\/p>\n

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We are pleased to invite you, after a technical incident, to the inauguration of the cycle #Deep_Talks<\/strong>, a series of conferences linked to the Curbatheri Deep Cities<\/strong> project (https:\/\/curbatheri.niku.no\/) in which we participate from the University of Barcelona and the Grup d’Arqueologia P\u00fablica i Patrimoni (GAPP, https:\/\/www.ub.edu\/gapp\/). It will take place on the 27th October at 7 pm CET. For this occasion, we have the \u00abRestauradoras con Glitter\u00bb<\/strong>, a group of professionals and multidisciplinary activists, linked to the field of Cultural Heritage with a gender perspective, located in Mexico<\/p>\n

Link:<\/p>\n

https:\/\/ub-edu.zoom.us\/j\/95527114092?pwd=Nmt0cG9yV0o5eExIZXkzcjltazJ5QT09<\/p>\n

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Patrimonio sonoro i el camino a la Memoria.<\/h2>\n

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6 octubre\/2021, 6 pm (CEST)<\/p>\n

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Online<\/p>\n

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Convidat\/Invitado<\/strong>: Rodrigo Covacevich. Museo Rakin Mapu.<\/p>\n

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CAT<\/p>\n

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Resum:<\/strong><\/p>\n

La mem\u00f2ria dels pobles sempre \u00e9s col\u00b7lectiva. A trav\u00e9s de l\u2019etno\/arqueomusicologia i la tradici\u00f3 oral podem estudiar i reconstruir el fang amorf modelat per les mans ceramistes de dones i homes que van donar forma i so a la cosmoviv\u00e8ncia ancestral. Aquest exercici implica recon\u00e8ixer un llenguatge, un di\u00e0leg susp\u00e8s en el temps. \u00c9s activar la mem\u00f2ria, no com a espectadors, sin\u00f3 com a part de l\u2019alteritat.<\/p>\n

Qui \u00e9s Rodrigo Covacevich?<\/strong><\/p>\n

M\u00fasic i Etnomusic\u00f2leg. Creador de la Escuela de Sonidos Ancestrales i coordinador del Museo Rakin Mapu. Va estudiar composici\u00f3 musical a l\u2019Institut SCD de Santiago de Xile. Ha realitzat investigacions relacionades amb el corpus instrumental i musical precolomb\u00ed en varis pa\u00efsos de l\u2019Am\u00e8rica del Sud. Ha publicat l\u2019audiollibre \u201cSonidos y Armon\u00edas de Pumapungo\u201d que recupera els sons dels instruments musicals de les cultures prehisp\u00e0niques de l\u2019Equador. Va dissenyar la museografia sonora de l\u2019\u00e0rea arqueol\u00f2gica del Museo de Pumapungo de Cuenca, Equador, i de l\u2019exposici\u00f3 itinerant audio-fotogr\u00e0fica \u201cEtnias: los sonidos de la memoria\u201d que fou exposada a Xile, Equador y Fran\u00e7a. L\u2019exposici\u00f3 es va focalitzar en els sons originals d\u2019instruments arqueol\u00f2gics d\u2019Am\u00e8rica. Com a artista sonor, ha realitzat varis treballs relacionats amb els paisatges sonors vinculats a la hist\u00f2ria i la mem\u00f2ria. Entre altres treballs, ha realitzat la investigaci\u00f3 musical i part de la composici\u00f3 per a l\u2019\u00faltim muntatge de l\u2019aclamada ballarina Pina Baush, coneguda com el \u201cMusguito en la Piedra\u201d. Actualment imparteix cursos sobre etnomusicologia i continua desenvolupant investigacions relacionades amb les sonoritats prehisp\u00e0niques.<\/p>\n

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ES<\/p>\n

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Resumen:<\/strong><\/p>\n

La memoria de los pueblos siempre es colectiva. A trav\u00e9s de la etno\/arqueo musicolog\u00eda y la tradici\u00f3n oral podemos estudiar y reconstruir la arcilla amorfa modelada por manos alfareras de mujeres y hombres que dieron forma y sonido a la cosmovivencia ancestral. Este ejercicio implica reconocer un lenguaje, un di\u00e1logo suspendido en el tiempo. Es activar la memoria, no como espectadores, sino como parte de la otredad.<\/p>\n

\u00bfQui\u00e9n es Rodr\u00edgo Covacevich?<\/strong><\/p>\n

M\u00fasico y Etnomusic\u00f3logo. Creador de la Escuela de Sonidos Ancestrales y Coordinador del museo Rakin Mapu. Estudi\u00f3 composici\u00f3n Musical en el Instituto SCD de Santiago de Chile. Ha realizado investigaciones relacionadas con el acervo instrumental y musical precolombino en varios pa\u00edses Sudamericanos. Ha publicado el audiolibro \u201cSonidos y Armon\u00edas de Pumapungo\u201d que recupera los sonidos de los instrumentos musicales de las culturas prehisp\u00e1nicas del Ecuador. Fue creador de la museograf\u00eda sonora del \u00e1rea arqueol\u00f3gica del Museo de Pumapungo de Cuenca, Ecuador, y de la exposici\u00f3n itinerante audio-fotogr\u00e1fica \u201cEtnias: los sonidos de la memoria\u201d que fue expuesta en Chile, Ecuador y Francia. La exposici\u00f3n se enfoc\u00f3 en los sonidos originales de instrumentos arqueol\u00f3gicos de Am\u00e9rica. Como artista sonoro, ha realizado varios trabajos relacionados con los paisajes sonoros vinculados a la historia y a la memoria. Entre otros trabajos ha realizado la investigaci\u00f3n musical y parte de la composici\u00f3n para el \u00faltimo montaje de la aclamada bailarina Pina Baush denominada \u201ccomo el Musguito en la Piedra\u201d. Actualmente imparte cursos sobre etnomusicolog\u00eda y contin\u00faa el desarrollo de investigaciones relacionadas con las sonoridades prehisp\u00e1nicas.<\/p>\n

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EN<\/p>\n

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Abstract:<\/strong><\/p>\n

People’s memory is collective. Ethno\/archaeo-musicology and oral tradition help us to study and reenact through clay the ancient pottery made by women and men, who gave shape and sound to the ancestral cosmo-vision. This exercise implies recognizing a language and a dialogue suspended in time to activate memory, not as spectators, but as part of otherness.<\/p>\n

Who is Rodrigo Covacevich?<\/strong><\/p>\n

Musician and Ethnomusicologist. Creator of the School of Ancestral Sounds and Coordinator of the Rakin Mapu Museum. He studied musical composition at the SCD Institute in Santiago de Chile. His research is related to pre-Columbian instrumental and musical heritage In several South American countries. His audiobook \u00abSounds and Harmonies of Pumapungo\u00bb recovers the sounds of the musical instruments of the pre-Hispanic cultures of Ecuador. Few years aso, Rodrigo devoped a sounds museography for the archaeological area of the Pumapungo Museum in Cuenca, Ecuador, and the itinerant audio-photographic exhibit so called \u00abEthnicities: the sounds of memory\u00bb, which was exhibited in Chile, Ecuador and France. The exhibit focused on the original sounds of archaeological instruments of America. As a sound artist, he has made several works related to soundscapes linked to history and memory. Recently, he has done the musical research and part of the composition for the last show of the acclaimed dancer Pina Baush called \u00abas the Musguito en la Piedra\u00bb. Currently, Rodrigo teaches courses on ethnomusicology and continues to develop research related to pre-Hispanic sonorities.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb collapsed=\u00bbon\u00bb][et_pb_row _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb][et_pb_text _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb animation_style=\u00bbfade\u00bb animation_duration=\u00bb1500ms\u00bb animation_delay=\u00bb500ms\u00bb]<\/p>\n

CONVERSES PASSADES<\/p>\n<\/h2>\n

[\/et_pb_text][et_pb_divider color=\u00bb#C8AB37″ divider_weight=\u00bb3px\u00bb _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb width=\u00bb225px\u00bb animation_style=\u00bbslide\u00bb animation_direction=\u00bbleft\u00bb][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ make_equal=\u00bbon\u00bb _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||||true|false\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb background_color=\u00bbRGBA(0,0,0,0)\u00bb custom_padding=\u00bb15px|15px|15px|15px|true|true\u00bb][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.8.2″ _module_preset=\u00bbdefault\u00bb background_color=\u00bb#C8AB37″ custom_padding=\u00bb15px|15px|15px|15px|true|true\u00bb][et_pb_text _builder_version=\u00bb4.9.4″ _module_preset=\u00bb7f963102-8695-45a3-9794-759f478fc48c\u00bb custom_margin=\u00bb||||false|false\u00bb]<\/p>\n

2020-2021<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.9.4″ _module_preset=\u00bbdefault\u00bb]Salvador Lude\u00f1a, Agust\u00ed Vericat, Neemias Santos da Rosa, Margarita D\u00edaz-Andreu, Ana Pastor, Mathieu Picas, Apen Ruiz y autores del libro \u00ab21 Assajos al Voltant del Patrimoni Cultural\u00bb, Gabriela Eljuri, Virginia Salerno, Sandra Lozano, Ra\u00fal Asensio[\/et_pb_text][et_pb_button button_url=\u00bb@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjIwMTgifX0=@\u00bb button_text=\u00bbM\u00e9s Informaci\u00f3\u00bb button_alignment=\u00bbcenter\u00bb _builder_version=\u00bb4.9.4″ _dynamic_attributes=\u00bbbutton_url\u00bb _module_preset=\u00bbdefault\u00bb][\/et_pb_button][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ make_equal=\u00bbon\u00bb _builder_version=\u00bb4.8.2″ _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||||true|false\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb background_color=\u00bb#C8AB37″ custom_padding=\u00bb15px|15px|15px|15px|true|true\u00bb][et_pb_text _builder_version=\u00bb4.8.1″ _module_preset=\u00bb7f963102-8695-45a3-9794-759f478fc48c\u00bb custom_margin=\u00bb||||false|false\u00bb]<\/p>\n

2019-2020<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.8.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Pablo Alonso Gonz\u00e1lez y Eva Parga Dans, Esraa Fathy Alhadad, Leslie Zubieta Calvert, Sendy Ghirardi, Marina Skarpeti, Margarita G\u00f3mez Salas, Jaime Almansa S\u00e1nchez, Montserrat Villaverde.<\/p>\n

[\/et_pb_text][et_pb_button button_url=\u00bb@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjI5NiJ9fQ==@\u00bb button_text=\u00bbM\u00e9s Informaci\u00f3\u00bb button_alignment=\u00bbcenter\u00bb _builder_version=\u00bb4.9.4″ _dynamic_attributes=\u00bbbutton_url\u00bb _module_preset=\u00bbdefault\u00bb][\/et_pb_button][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.8.2″ _module_preset=\u00bbdefault\u00bb background_color=\u00bb#C8AB37″ custom_padding=\u00bb15px|15px|15px|15px|true|true\u00bb][et_pb_text _builder_version=\u00bb4.8.1″ _module_preset=\u00bb7f963102-8695-45a3-9794-759f478fc48c\u00bb custom_margin=\u00bb||||false|false\u00bb]<\/p>\n

2018-2019<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.8.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Isidre Pastor i Batalla, Isbert Sabrine, Alexander Geurds, Cristina Vidal Lorenzo, David Buxens, Diana S\u00e1nchez, Antoni Mart\u00edn i Oliveras, Camila Opazo-Sep\u00falveda.\u00a0<\/p>\n

[\/et_pb_text][et_pb_button button_url=\u00bb@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjMxMyJ9fQ==@\u00bb button_text=\u00bbM\u00e9s Informaci\u00f3\u00bb button_alignment=\u00bbcenter\u00bb _builder_version=\u00bb4.8.2″ _dynamic_attributes=\u00bbbutton_url\u00bb _module_preset=\u00bbdefault\u00bb][\/et_pb_button][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ make_equal=\u00bbon\u00bb _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb||||true|false\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb background_color=\u00bb#C8AB37″ custom_padding=\u00bb15px|15px|15px|15px|true|true\u00bb][et_pb_text _builder_version=\u00bb4.8.1″ _module_preset=\u00bb7f963102-8695-45a3-9794-759f478fc48c\u00bb custom_margin=\u00bb||||false|false\u00bb]<\/p>\n

2017-2018<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.8.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Gustavo Gonz\u00e1lez, Integrants del C.R.A.S. (Lidia Boluda Terol, Lourdes L\u00f3pez Mart\u00ednez, Jes\u00fas Mart\u00edn Alonso, Guillermo Palomero, Paloma Zarzuela), B\u00e1rbara Molina Neira, Apen Ruiz, Ana Pastor, Luz G\u00e1miz, Elba Estrada Hern\u00e1ndez.\u00a0<\/p>\n

[\/et_pb_text][et_pb_button button_url=\u00bb@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjMxOSJ9fQ==@\u00bb button_text=\u00bbM\u00e9s Informaci\u00f3\u00bb button_alignment=\u00bbcenter\u00bb _builder_version=\u00bb4.8.1″ _dynamic_attributes=\u00bbbutton_url\u00bb _module_preset=\u00bbdefault\u00bb][\/et_pb_button][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.8.1″ _module_preset=\u00bbdefault\u00bb background_color=\u00bb#C8AB37″ custom_padding=\u00bb15px|15px|15px|15px|true|true\u00bb][et_pb_text _builder_version=\u00bb4.8.1″ _module_preset=\u00bb7f963102-8695-45a3-9794-759f478fc48c\u00bb custom_margin=\u00bb||||false|false\u00bb]<\/p>\n

2015-2017<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00bb4.8.2″ _module_preset=\u00bbdefault\u00bb]<\/p>\n

Juana M\u00aa Hu\u00e9lamo, Josep Maria Solias, Ricard Martinez, Pau Olmos, Bego\u00f1a Florida Eseberri, Santiago J. Castell\u00e0, Joan Menchon, Sergi Lozano, Paloma Gonz\u00e1lez Marc\u00e9n, GRAMPO (Roger Alc\u00e0ntara, Ricard Arnaiz, Adri\u00e0 Breu, Quim Sisa), David Gonz\u00e1lez \u00c1lvarez, Juansebasti\u00e1n Vel\u00e1squez Pel\u00e1ez, Natalia Hern\u00e1ndez Tangarife, Mireia Sabat\u00e9\u00a0<\/p>\n

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