Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

RESUMEN En la ciencia ficción anterior a los años 60 del siglo pasado, los escenarios de la ciencia ficción estaban basados casi exclusivamente en decorados de estudio, maquetas, trucajes y pinturas mate. A partir de obras como La jetée (1962), del cineasta francés Chris Marker (1921-2012) comienza una tendencia que dura hasta nuestros días, en la que la arquitectura real se utiliza en ocasiones para representar el futuro. Un caso particular y efímero de este uso de la arquitectura consiste en utilizar la ciudad tal cual existe, filmada sin manipulaciones, en lugar de escoger fragmentos urbanos inconexos para componer otra nueva y futura. En lugar de trasladar la arquitectura hacia el futuro, el futuro es llevado al presente, en el que la ciudad se transforma en un lugar sin lugar. El Portmeirion de El prisionero, el París de Alphaville, la Buenos Aires de Invasión, son ejemplos de este modo de proceder, en el que el filtro cinematográfico consigue que lo urbano contemporáneo se reinterprete por el espectador hasta conformar un futuro tan creíble como diferente al de la ciencia ficción clásica, generando tantas experiencias diferentes como espectadores y multiplicando así la percepción de la ciudad.SUMMARY In pre-1960s sciences fiction, scenarios were based almost exclusively on studio sets, models, special effects and matte paintings. Works such as La Jetée (1962), by French filmmaker Chris Marker (1921-2012) began a trend that continues to this day, in which architecture itself is sometimes used to represent the future. A particular and ephemeral case of this use of architecture is to use the city as it exists, filmed without modifications, instead of choosing disjointed urban fragments to compose a new and future one. Instead of moving architecture forward, the future is brought to the present, where the city becomes a placeless place. The Prisoner’s Portmeirion, the Paris of Alphaville, the Buenos Aires of Invasion, are all examples of this approach. Here, the cinematic filter ensures that the urban contemporary is reinterpreted by the viewer to form a future as believable and as different from classic science fiction, that it generates as many different experiences as it does spectators, thus multiplying the perception of the city. 

RESUMEN Los Encuentros del 72 fueron un festival de arte de vanguardia que se celebró en Pamplona en junio de 1972 y que supuso un hecho cultural sin igual en la historia de nuestro país. Soportado por la familia Huarte, el evento organizado por el grupo de música Alea logró transformar la ciudad durante los ocho días en los que sus habitantes convivieron con artistas llegados de todo el mundo. Ampliamente investigado desde el punto de vista del arte, el artículo aborda su estudio a través de la lectura de los escenarios definidos en el catálogo diseñado por De Pablo y Alexanco. Durante aquella semana el recinto amurallado de la Ciudadela se estrenó como emplazamiento cultural y el efímero espacio de las cúpulas neumáticas de De Prada Poole tuvo un protagonismo especial pasando a ser, paradójicamente, uno de los recuerdos más firmes de aquellas jornadas. Salas de cine, museos, espacios deportivos y otros privados se sumaron a la fiesta del arte en la que, a través de lo insólito, de la transformación de lo cotidiano, la Ciudad se desveló como el principal espacio, el escenario idóneo para la creación artística y la interrelación entre arte y ciudadanos. Por último el artículo revisa en qué modo la huella de los Encuentros está presente en Pamplona y en su propuesta cultural actual; cómo aquella ciudad paralela invadida de arte vital y público, pudo definir de algún modo la ciudad construida hoy y su carácter en el futuro. SUMMARY Encuentros 72 (1972 Encounters) was an avant-garde art festival held in Pamplona in June 1972 that represented an unprecedented cultural event in Spain. The event was sponsored by the Huarte Family and organized by the members of the Alea music group, who were able to transform the city into a happening for eight days while residents mingled with artists from all over the world. The Encuentros 72 art festival has been extensively researched from an artistic point of view, so this article will study the exhibition venues described in the catalogue designed by Luis de Pablo and José Luis Alexanco. That week, the walled enclosure of Ciudadela Park made its début as a cultural centre and José Miguel de Prada Poole’s ephemeral pneumatic domes played a stellar role. Paradoxically, they were what many people remembered most about the art festival. Cinemas, museums, sports centres and other venues joined forces with the festival and, by embracing the uncommon and transforming the habitual, the city revealed itself as the perfect stage and ideal setting for artistic creation and interaction between art and people. Finally, the article examines the mark that the festival left on the city and its current cultural offerings. It explores how that parallel city, invaded by vital, public art, defined the Pamplona of today and the city’s future.

RESUMEN La ciudad es el espacio neurálgico del sujeto contemporáneo, sin embargo la forma en que las ciudades se planifican, crecen, o se destruyen parecen estar al margen de las manifestaciones o sensibilidades del individuo; muchos de los lugares por los que transitamos se han convertido en lugares inhóspitos, habiendo perdido la ciudad su carácter simbólico y como consecuencia de la globalización también ha perdido su identidad. Nos preguntamos si puede el arte constituir una sustancia que amalgame estas patologías de nuestras ciudades modernas y abra puertas a expectativas que se acerquen a un entendimiento de la ciudad como escenario humano, donde el espacio público, el espacio natural o el paisaje serán lugares desde los que hacer ciudad. Proponemos la arquitectura, el arte y la vida, como formas de conocimiento que se esconden entre las ideas y el modo en que éstas se expresan y donde encontrar nuevos argumentos para un proyecto de ciudad. Este texto hace un recorrido por los límites difusos entre estos campos desde los años 60 hasta la actualidad, centrándonos en algunos ejemplos que nos sirven para establecer una conversación entre ellos con objeto de su traslación a la ciudad, y así recuperar su uso por los habitantes y, especialmente, el espacio público como lugar donde sus habitantes puedan expresar su creatividad.SUMMARY The city is the vital space for the contemporary individual, however the way in which cities are planned, grow and are destroyed seems to be outside of of the manifestations and sensibilities of the citizens: many of the places that we pass through have become inhospitable, as the city has lost its symbolic character and, as a consequence of globalisation, has also lost its identity. We wonder if art can be the thing that amalgamates these diseases of our modern cities and opens doors to expectations that approach an understanding of the city as human stage, where public spaces, natural spaces and the landscape will be places from which to make a city.We propose architecture, art and life as forms of awareness that are hidden between ideas and the way that they are expressed, and where we can find new arguments for a city project. This text explores the diffuse limits of these fields, from the sixties until the present day, focussing on some examples that will help us establish a conversation between them with the aim of translating them to the city, and thus recovering their use for its inhabitants and, especially, of public space as a place where the inhabitants can express their creativity.

This paper argues that International Relations as an academic discipline (IR) since 9/11 has become part of a growing preoccupation with ‘security’. This has not always been the case, and still today there are alternative theorisations also within the mainstream of the discipline. The security perspective however was shaped by two particular junctures in which the fear of impending attack on the USA and its allies was articulated at its most dramatic. The first occurred between the original establishment of the discipline in the interwar years and the postwar siege laid on the USSR. Here the role of IR was to define as rational the assumption of a nuclear surprise attack, equating the USSR as a ‘totalitarian’ state similar to the Axis Powers, one of which did attack Pearl Harbour. The second can be traced back to the 1970s when the threat of Third World revolt under the banner of national liberation was re-baptised ‘international terrorism’ at the instigation of the Israeli Far Right and militarists in the US, thus creating a continuity between the supposed Soviet threat and post-Soviet instances of anti-Western revolt. From this the paper concludes that IR has functioned to place policy-makers and opinion leaders under a ‘discipline of fear’ which is insufficiently recognized, let alone challenged by IR scholars.

Thirty years after the publication of Hegemony and Socialist Strategy, we publish in this Social Window a series of interviews with three leading figures in the contemporary debate around the work of Ernesto Laclau and Chantal Mouffe, and their political influence. After the political and discursive changes that led to the irruption of anti-austerity demonstrations in many European countries, and the successive rise of political parties such as PODEMOS in Spain and Syriza in Greece, the objective is to investigate the value of both heuristic and political concept of 'hegemony', as well as the connection between theory and praxis, between the 'radicalization' of democracy - in the sense of Laclau and Mouffe - and the contemporary political scene. Hand in hand with these three personalities - Iñigo Errejón, Lasse Thomassen, and Yannis Stavrakakis - we try to give answers to a series of central questions for this issue of International Relations, and at the same time offer interpretative paths of the European reality.

From a neo-gramscian approach, the concept of hegemony refers to a model of governance based on a set of norms and institutionalised practices. These norms and practices, despite being freely accepted by the subordinated groups, reflect a structure of domination in which relations between social classes are characterised by an asymmetry of power. The gramscian approach, thereby, allows us to explore the development of the neoliberal project in Europe through the last decades. This paper analyses the possibilities of the major corporations to prescribe the European political agenda. In doing so, it will address the interaction of the business elite in the energy sector and the European institutions regarding the climate program and energy policies.

Podemos is, by many, seen as the natural continuation of the Indignados movement. However, what happens when a movement transforms into a political party? Podemos’ intellectual figureheads have in this process been heavily influenced by the theories of Ernesto Laclau, and they have adopted his ideas on hegemony and political articulation. As of late, however, Podemos has also begun to employ the concept of sovereignty. In this article, I argue that the concept of sovereignty used by Podemos might carry unintended political implications. I demonstrate that Podemos use sovereignty in both national and popular versions, and I point to how this illustrates the inherent tensions between horizontality and verticality. However, if not sufficiently recognising these tensions, Podemos are risking association with claims not readily compatible with a radical politics. There are therefore two political implications: firstly, the use of sovereignty places more emphasis on verticality and leadership than on the popular base and, secondly, sovereignty has strong historical ties to a more reactionary electorate. 

This article is a classic and fundamental for approaching global power relations with the conceptual tools developed by Gramsci. Cox contributes to critical thought in International Relations by discussing various gramscian concepts and what their implications are for the study of different historical forms of hegemony and counter-hegemony. Also, the author draws our attention –novel at the time of its publicaction– to the relevance of taking into account the construction of domestic counter-hegemonic historic blocs. He suggests that these could have a revolutionary effect on international structures and organizations, as well as rupture with the hegemony performed by the transnational economic order.

Review-essay of: PÉREZ DE ARMIÑO, Karlos y MENDIA AZKUE, Irantzu (eds.), Seguridad Humana. Aportes Críticos al debate Teórico y Político, Tecnos-Hegoa UPV, Madrid, 2013, ps. 318. DEL ARENAL, Celestino y SANAHUJA, José Antonio (coords.), Teorías de las Relaciones Internacionales, Tecnos, Madrid, 2015, ps. 376.