Abstract
The Atocha station, by the mere fact of being a train station, is theoretically characterized by Marc Auge (1992/2000) as a non-place. Auge characterizes these non-places as spaces devoid of any history or stories, impossible to appropriate, and that arise from supermodernity, a period that began at the end of the last century and is characterized by an acceleration and excess of events, spaces, and a shrinking of the planet. Through photography, according to Joan Fontcuberta’s (1990, 2009) point of view, we have tried to find sufficient indicators in order to understand the relationship between a supposed “non-place” and the people that pass through it. However, this relationship goes beyond just a simple category. We have used the notion of cronotope, a concept introduced by Mikhail Bakhtin (1975/1989), in order to offer another point of view for the many configurations that can be established between people and spaces. We have developed a table of Types of Space-Time Configurations in a Specific Space, in which Cronotopoi (stable vs. ephermal) and Significance (non-place vs. place) are brought into play. From this table, we discuss some of the results found during the nearly five months that we were taking pictures of the Atocha station lobby, and we have found that people are located in spaces in different ways, appropriating in many peculiar ways, of course, beyond our categories of analysis.
Highlights
We have developed a table of Types of personas y los espacios
Hemos elaborado una tabla Space-Time Configurations in a Specific Space, in de Tipos de configuraciones espaciotemporales en un which Chronotopoi (stable vs. ephermal) and espacio concreto, en la que Cronotopoi (estables vs. Significance (non-place vs. place) are brought into play. efímeros) y Significación (lugar vs. no-lugar) se ponen From this table, we discuss some of the results found en juego
A partir de esta tabla, hemos analizado during the nearly five months that we were taking algunos de los resultados que encontramos a lo largo pictures of the Atocha station lobby, and we have found de los casi cinco meses que estuvimos fotografiando el that people are located in spaces in different ways, vestíbulo de Atocha y hemos hallado que las personas appropriating in many peculiar ways, of course, beyond nos ubicamos en los espacios de diferentes modos, our categories of analysis. apropiándolos de formas peculiares que, como es lógico, van más allá de nuestras categorías de análisis
Summary
La sobremodernidad es un período que comienza, según Augé (1992/2000), a finales del siglo pasado, y que se caracteriza por una triple circunstancia: un exceso de acontecimientos, una excesiva proliferación de espacios y, por último, un achicamiento del planeta, al menos, en la denominada cultura occidental. Exceso de espacios y exceso de información son, de acuerdo con Augé (1992/2000), algunas de las dimensiones que caracterizan una forma de estar en el mundo: la denominada sobremodernidad. De todo este conjunto de cambios emerge, por cierto, una tremenda paradoja, puesto que al mismo tiempo que hacemos enormes esfuerzos por crear redes multinacionales, que aparentemente estrechan los vínculos entre las personas, que acortan distancia, tanto física como simbólica, aparece también un nuevo sentido de la individualidad. Tal y como hemos visto, sin embargo, la distinción entre lugar y no-lugar es exclusivamente analítica, es decir, no es posible encontrar espacios que sean, por definición, una u otra cosa
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