The tobacco old factory of Lavapiés. Bathroom
At some time it was possible to be gotten to think that the creativity as much scientist as artistic it only could be the result of the isolated and almost heroic work of an inspired individual or extremely motivated. That model of creativity that had its heroes in the scientists and artists of the romanticism has given much of himself and perhaps we are now in conditions for raising to us if it is perhaps the unique possible model or if in fact it even can abiertamente be questioned.
In scientific terms [1 seems evident], on the one hand, that good part of the creativity happens rather in the surroundings of laboratories where different and often complementary intelligences can work jointly. On the other hand, it seems also clear that creativity no longer occurs of a completely falling apart way of the social surroundings and political in which only works but located in a concrete context we are able to understand it and to develop it.
Collaboration and contextualidad then, are two of the characteristics that seem to have incorporated to the conception that of the creativity we have and this is thus also, obvious, in the field of the cultural and artistic production, where these two characteristics even seem more logical that in other dominions of the investigation
At the time of thinking the institutions in charge to support and to protect the cultural and artistic generatividad, we were whereupon, quite often, these institutions have continued favoring a model that prioritizes the work of the artists conceived like isolated individuals, instead of to detect and to support networks and communities of saberes and practices much more ample and articulated. Diria that our cultural institutions fulfill until the fatigue with the ritual to identify and to isolate “creators”, secreting to them of the means in whom these work and in which its work has been satisfied and perhaps it has felt plenary session, to turn into an interchangeable chromium species in the innumerable fairs and markets to them that score the dream of the world of the art.
A project as the Tobacco CSA understands and respects all the possibilities of organization and distribution of the creativity, but understands its contribution like an open bet by a model of production and distribution in which the artistic generatividad appears contextualised and plotted of collaborative way, in abierto code since it would become in a scientific laboratory or a flamenco rock. Understanding the cultural thing in the amplest sense, like active, vital process, integrated in the surroundings in which one occurs.
So that our bet does not remain in a toast to the sun of the colaboratividad and the procommon one, the structure everything of the organization of the Tobacco CSA aims to establish spaces of work and diffusion that do not assign to individuals (studies, exhibitions, etc) but to practices and languages (factories, laboratories). In this way the structure of space, temporary and labor distribution of Tobacco grower will conspire so that the artistic practices more outposts share laboratory of work, spaces of discussion and until table and table cloth with the social and political practices plotted with the district of Lavapiés and the metropolitan zone of Madrid.
Nothing of what has been said up to here must be understood like a limitation to the necessary autonomy of the artistic and cultural practices, on the contrary the proposal everything thinks like a way to safeguard that autonomy, that surely can be certainly threatened by the ways sprays to understand it by means of which good part of the institutions of the world of the art works and which they perhaps have the effect to put under a constant uncertainty and tension by the survival to the artists and creators who have had the immense luck to gain a prize or a stay.
The autonomy of the individuals and the communities can be understood like a series of open processes that are fed back and they are defended mutually providing spaces, times and tools.
Although we were constituent process in the heat of and good part of the activity of the CSA still consists of receiving new proposals and integrating them in the plot of functional spaces and laboratories that we are organizing, we can offer either one first incomplete e list of some of the investigation and defined and integrated work groups or in the plot of the Tobacco CSA:
The “phase 2” in which we were now supposes the process of organization and grant of the spaces with which we counted to be able to give opportunity to some groups to develop its activity in self-management regime according to three principles that are those that conditions the participation in the Tobacco CSA:
Finally, all the factories, laboratories and lines of artistic activity will include and unfold in relation to three general categories that suppose other so many attempts to approach the necessary differences of scale, as well as the levels and speeds of intervention:
Tactical area, that will include/understand all the initiatives equipped for the immediate production of graphical supports, audio-visual and of action. The tactical area of the CSA is conceived like a network of possibilities of fast answer to social or expresivas needs of any nature with which the CSA and their groups want to coordinate themselves. It is of fundamental importance to equip the CSA with possibilities of cooperation with the most varied social and ocal actors.
Strategic area, that one takes care of processes of formation and grant of saberes and resources that are completing the repertoire than as Tobacco CSA we are able to do. One will take care to anticipate and to program courses, processes of formation, to organize the acquisitions of equipment… One is which it gives account of the average and agreed decisions. Those that gamble in the long term.
Operational area: Uniting and mediating the other two. Implied in cycles, campaigns, unfoldings of action and materials that are giving space and temporary coherence to the work left the Tobacco CSA. It is the area that must think about synergies and sustainabilities, combining immediate and long term action, habitual and the exceptional thing.
 and has made thus it notice the investigations of Kuhn, Feyerabend or Latour
At some time it was possible to be gotten to think that the creativity as much scientist as artistic ...
At some time it was possible to be gotten to think that the creativity as much scientist as artisti...
Self-managed social center La Tabacalera is a self-managed social center: a space where theater, musi...
Terraza de la Casa Encendida. Madrid
Terraza de la Casa Encendida. Madrid
The word Europe comes from the Greek goddess Europa, who was kidnapped by Zeus and plunked down on the island of Crete. Europa gradually changed from referring to mainland Greece until it extended finally to include Norway and Russia.
Don't be confused that Europe is called a continent without looking like an island, the way the other continents do. It's okay. The Ural mountains have steadily been there to divide Europe from Asia for the last 250 million years. Russia technically inhabits "Eurasia".
Europe is presently uniting into one political and economic zone with a common currency called the Euro. The European Union originated in 1993 and is now composed of 27 member states. Its headquarters is in Brussels, Belgium.
Do not confuse the EU with the Council of Europe, which has 47 member states and dates to 1949. These two bodies share the same flag, national anthem, and mission of integrating Europe. The headquarters of the Council are located in Strasbourg, France, and it is most famous for its European Court of Human Rights.
In spite of these two bodies, there is still no single Constitution or set of laws applying to all the countries of Europe. Debate rages over the role of the EU in regards to national sovereignty. As of January 2009, the Lisbon Treaty is the closest thing to a European Constitution, yet it has not been approved by all the EU states.
Text by Steve Smith.