Today, these expectations are still very alive. Xabregas City is an ambivalent title: Nevertheless, ambivalence is also a characteristic that crosses this heterodox and contradictory territory, which is at an intermediate, transitory stage between the end of a cycle and the prospective vision of a new, contemporary, era.
During his peripatetic incursions into this small and peculiar world, Feliciano recombined modes of looking and seeing: In one year, the artist took more than 8, photos and published , all of which are now reproduced in this book, in grids containing 9 images each.
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Their sequence is chronological; free from all thematic or narrative criteria, these photographs essay relationships, displacements and references that may be established between the different images. Nonetheless, the serial nature of this work elicits the possibility of a story, a narrative hidden behind the thematic differentiations and juxtapositions.
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Additionally, we can also look at each group of nine images as a bigger, multifaceted image. In the book, stands out the abundance of its subjects: Persons are rare, the images favor a gaze upon the territory, buildings and the coincidence in space of multiple materials and objects. It is a non-interventionist gaze, one that avoids disturbing the lives of the people that live there.
This avoidance of the human presence can also be felt as a way to bring about a displacement that sends the viewer into a paradoxical and distended space-time, immune to the concrete nature of gestures and actions. Feliciano is interested in the places of Xabregas as a theme, but also as a peculiar domain of perceptions, that is, as two inseparable dimensions that sanction the existence of a fundamental relationship between the gaze and reality.
Flat, neutral and planimetric planes, interspersed with pronounced variations of the gaze, up or down, diagonal or oblique views, that is, all the possibilities of negotiating between the machinic and the human gaze.
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In general terms, what we have here is a sensitive inventory: In this constellation of images, different subjects have equal value — be it real, aesthetic, or symbolic. The excessive presence of images is consistent with the cacophony of the urban and with the cumulative vortex typical of contemporary culture. Looking at these images we can also identify two different approaches to a photographic practice. The second is not necessarily alien to art, but comes about as an essentially instinctive and undisciplined practice, indifferent to its artistic legitimacy for the simple reason that it feeds from the contingencies and opportunities of the moment, collecting them as the testimonies of an everyday, direct and informal life — which these images so singularly bear witness to.
For those who live in or are acquainted with the city of Lisbon, Xabregas City can be a perplexing experience. We owe this divergence, among other things, to the way Feliciano confronts and looks at the subjects and issues he happens upon. Those spaces and gaps, they are the stuff of Xabregas City.
Jorge Gaspar Workers village, Xabregas in the s. Early on there was an opposition established between eastern and western Lisbon. In 15th and 16th centuries, the city grew mostly towards the west, a tendency which would persist through the following centuries. But to the east the city grew in a different direction, a process fed by successive waves of industrialization and contingent on the growing importance of the waterways and of the railroad, and accompanied by the progressive withdrawal of the bourgeoisie and the devaluation of the land.
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The river above, the Alentejo to one side and the Beira on the other, communicating in this way with the maritime population of the coastline. Lisbon and the Tagus made a decisive contribution for both the unity and individuality of Portugal: In turn, this was the base for the commercial relationships which were established and strengthened with distant lands, in the Mediterranean, in the North Sea and in the Baltic.
Via freshwater navigation, a riverside urbanity had spread which helped to build a cultural unity that spanned from Lisbon to the Portuguese borders. In a survey administered in the high schools of Lisbon during the s, the concept of this east versus west opposition was apparent, and in the mental maps of the surveyed students, Avenida Almirante Reis was a borderline, with the lands to the east constituting an enormous void.
They had just no information about it, topographical or functional. In the s, the ideas and projects of contemporary urban planning arrived in Portugal, and they kept projecting East Lisbon as a city of labor — industry, logistics, habitation. They began on the waterfront strip, where the neo-technical city would overlap the moribund and tattered remains of the fragile paleo-technical city. The hinterland, where the municipality had acquired vast amounts of rural lands to develop, played host to a series of urbanistic experiments — the echoes of various architectural paradigms established in Europe throughout the 20th century, from the garden city to functionalism, and back to the model of the linear city in the second half of the century.
In this process, there was also the opportunity for some social experiments that can be better described as assistentialist and third-worldly.
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In the same fashion, there then came architectural experiments which generated, just in time, some debate on the multiple problems created by the housing shortage that was affecting the poorer classes. Poetic narratives are evident, and are offered not only as readings, but as experiences. These are photographs intended to be visited and travelled. Through his thorough mapping, it is possible to travel a long and sinuous historic path which has driven the spaces of East Lisbon towards contrasting situations: Could it be proto-neo-urban?
It is necessarily post-urban, but it cannot be considered not-urban, for it has all the elements that can eventually lead to urbanity, even if in very uneven and small samples.
It is a landscape that permits, and even demands, a variety of keys for its interpretation and discovery. It is an end, in the sense that it is a synthesis, a poetic vision, in the domain of an artistic approach, but it is also a beginning various beginnings , an opportunity for new voyages, new explorations, and for the renewal of old models.
This could be one of the possible inroads for this photo-territory, a space which has been reconstructed by way of the camera. What would I do with these images? From the very start, it is a fantastic atlas of great usefulness to urban studies due to its multidisciplinary richness. Here is almost everything: Seeing the shack that he had there, I leaned up against the boards and thought: I left such a good house, in stone, to come here.
Here is a place from where new paths start, and new itineraries are born. VIGNETTES Gardens and farms The proximity of the city — the market, the geological structure, and the existence of an aquifer that permitted the drilling of wells which would prove to be highly productive, facilitated small-scale farming. As such, the numerous archeological remnants of these gardens, which were the basis of the farms which preceded the large urbanistic projects of Chelas and Olivais Sul, give us notice of their predecessors, the walled gardens that once descended from Vale de.
Theirs is a memory that present day urban gardens cannot do justice to, neither topographically nor functionally. Please recommend JoVE to your librarian.
Isto causou a cor mudar de amarelo claro para um vermelho rubi profundo. A tabela 4 mostra a porcentagem da taxa de seletividade para MB pico atual. A estabilidade do nosso biosensor DNA quanto calor foi mais explorada. O gene toxR de V. Nenhum produto PCR de outras estirpes bacterianas foram detectado. Estes resultados correlacionam-se positivamente com os resultados PCR anteriormente discutidos. Direitos autorais Springer. Lane 2ul de escada de DNA bp, pista Neste trabalho, usamos MB como o complexo de redox. O biosensor fabricado foi capaz de distinguir especificamente V. Technical change and economic theory.
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