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para las Investigaciones Culturales del Chocó (ASINCH) Corp-Oraloteca UTCH 2012-04-16 / Revista Acontratiempo / N° 18 Audio 1-Voz de "Chano" Murió "Chano Band", un revolucionario (enero de 1943-enero de 2012) Feliciano Ramírez, cantante y compositor chocoano conocido como "Chano", tenía un look bastante particular: una sonrisa sin dientes en la que sobresalían dos colmillos laterales, una cresta canosa en la cabeza y una vestimenta que diseñaba él mismo (pantalones con parches, camisas coloridas y chalecos de una fibra natural típica de la región llamada damagua). Chano, además de ser auténtico, era revolucionario y transgresor, por eso compuso canciones como "la rata de dos patas" en las que denunciaba la corrupción y los atropellos de la clase dirigente chocoana. Tenía una personalidad muy singular que hacía que su gente lo quisiera y le temiera a la vez. Era ingenuo y violento, humilde, agrandado y arrogante, pobre y visionario, tremendamente fuerte, rebelde y a la vez infantil.

Nicolás Casullo, El debate modernidadposmodernidad, Bs. As., El cielo por Asalto, 1993

“La influencia de Nigel Henderson en la actitud crítica de Alison y Peter Smithson” Critic All. I International Conference on Architectural Design & Criticism. ARKRIT (Grupo de Investigación de Crítica Arquitectónica). Universidad Politécnica de Madrid. Escuela Técnica Superior de Arquitectura. Departamento de Proyectos Arquitectónicos, 2014, pp. 397-407 ISSN: 2255-2057 _Abstract During the British post-war, the architects Alison and Peter Smithson were part of the Independent Group: a team of disparate personalities who met informally at the Institute of Contemporary Arts in London, with the aim of creating a fully integrated aesthetic in contemporary life, which were recognized as "Parents of the British Pop". Within this group, the architects held some exhibitions with the sculptor Eduardo Paolozzi and the photographer Nigel Henderson. The latter had a great influence on Smithson and his way of looking at reality, associated with the post-war context and the need to rescue the beauty of the everyday, something that the couple subsequently recognized by the expression "As Found", showing the Dadaist origin of the concept. Henderson's photographs of the bombed remains at the East End, and active street life, caused the Smithsons strongly positioned themselves against functionalism and intervened in the construction of a new architectural and urban culture, within the International Congresses of Modern Architecture (CIAM), which were participating actively in parallel. In 1953, at CIAM IX, held in Aix -en- Provence, the Smithsons presented several photographs made by Nigel Henderson of street life in Bethnal Green, and defended the need to create modern equivalents of certain fundamental features in the creation of life Community, which images showed. They argued that the real urban solution lay in the association, so that under the title “Urban Reidentification" were raised functional interconnections between four scales of Inhabitation (housing, street, district and city), compared to the four zones of single-use (housing, transport, industry and recreation). For a rearrangement of the principles of rational planning, proposed in 1956, at the CIAM X in Dubrovnik, five urban concepts: association, identity, pattern of growth, mobility and cluster. The opposition of the young architects to the functions advocated by the Athens Charter meant the end of CIAM and the birth of Team X. Nigel Henderson's photographs, through Alison and Peter Smithson, had a leading role in that process of change, although anonymous. His work clearly expresses the values that the new team of architects began to defend at that moment -improvisation, flexibility territorial, urban choreography, neighbourhood and adaptive design-, and that today continue motivating reflections and debates. Key words: Smithson, Henderson, Independent Group, CIAM, TEAM X.

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