CROSSING BORDERS, SHIFTING BOUNDARIES: IMAGE, BODY AND TERRITORY

Campbell work, besides other things, makes as question, on the one hand, the political potential of action that site specific performance have for crossing borders and shifting boundaries of certain institutional urban processes, spaces and environments, inducing them to change as a result.In this specific situation, to make people critically reflect on the boundary between a national park and a municipal rubbish dump in the city of Hobart.On the other hand, to question the role and purpose of an art work like Spatial Tuning that has the potential, besides its value as an aesthetic experience by it self, to work as a vehicle to create a background of interference that can trigger a new perception and political action over the urban environment.In Disintegration Culture: knowing and depicting the norther shore of Viana do Castelo, André Castanho takes us in a photographic journey throughout this northern coast territory, in an exercise of reconstruction of the history of the place by the critical observation of its marks and fragments through the medium of photography.André´s project is an invaluable experience on using photography not only to explore Peirce´s notion of index, taking on board Rosalind Krauss work on the subject, but also for investigating different gazes towards this region in the northern cost of Portugal.Andre´s work is capable of registering in a unique and poetic way the traces of the landscape of Viana do Castelo creating an archive of that territory for documenting both its physical and existential changes during a particular period of time and, in doing so, allows a new understanding about this particular landscape.His formal approach towards its derulazation or many abandoned structures is very powerful and constitutes an "architectural gaze", which is clearly influenced by diverse visual strategies.For example, Evan´s formal "documentary style" and the deadpan unsentimental view that characterised many of the "New Topographic" authors as the Bechers or Lewis Baltz, not to speak about Robert Smithson´s work, are approaches that can be linked to Andre´s photography.All this to say that Disintegration culture is an important exercise where a photographic project with distinct artistic approaches allows to unveil the hidden meaning of these abandoned structures and spaces, which are then no longer looked at with a nostalgic passive view, but understood as opportunities (Solà-Morales: 1995).The visual metaphors brought by all of these authors explore, in broad terms, the relations between the body and territory, showing the potential of image to unveil the reflexive culture of our times.Conceived as a trilogy, this first series of Sophia is completed with this 3 rd number and we are pleased to announce, with the 4 th theme Visual Spaces of Change: Unveilling the Publicness of Urban Space through Photography and Image which will be devoted to the ongoing research project Visual Spaces of Change (VSC): a trans-disciplinary and original research in Architecture, Art and Image, with a significant component of Contemporary Photography combined with complementary research in Information Technology and Space Syntax, investigating emerging dynamics of change in the Metropolitan Area of Porto (AMP).In the upcoming 4 rd number of Sophia, which is Visual Spaces of Change: Unveilling the Publicness of Urban Space through Photography and Image, we are especially interested in articles that investigate how contemporary photography can be used to produce visual synthesis of emerging dynamics of urban change.Within these themes, contemporary photography is explored as a meaningful instrument of research, in order to render visible aspects of urban change, as well as how architectures, places and spaces are used and lived, aspects which are difficult to perceive without the purposeful use of image and photography.This means, besides other things, to inquire and study the possibilities offered by photography for oscillating between reality, poetry and utopia, rendering visible innovative visions, and creatively introducing new links between realistic representations, fictional worlds and symbolic meanings, articulated in conceptual discourses that are communicated through the specific grammar and visual syntax of photographic image.Our magazine is now accepting abstracts within these fundamental themes that may try to unveil how an image, a photograph or a series, critically and poetically build their own narratives and thoughts about different territories, and how they contribute to the understanding and appear engaged with contemporary dynamics of urban change.

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