This article documents the heritage project ‘Resonancia de flujo: saberes y memorias de un territorio’ (Flow Resonance: Knowledge and Memories of a Territory), developed through the participatory creation of a mural located at the Cardenal Caro station on Line 3 of the Santiago de Chile Metro. The work is an epistemic approach to marginal knowledge, which is housed in the nooks and crannies of the Cortijo community and is characterised by its capacity for self-production and constant transformation.

This mural seeks to honour the historical development of this community, which has been filled with the anonymous efforts of different individuals and social organisations who believed it was possible to live in dignity in this territory. They have done so through a process of contingent reconfiguration that balances resistance and survival, which I call Flow Resonance.

Over the years, countless stories from different neighbours, spontaneous conversations, photographs, various documentary records and the flow of reflections and echoes of desires have been collected, weaving together a silent collective memory, as if it were a kind of longing for that collective that refuses to die out.

From a methodological perspective, special relevance is given to the notion of autobiographical capital, conceived as a device for assessing an underlying memory that summons and promotes the appreciation of the present continuous.
This work concludes that artistic creation contributes to the production of knowledge for the benefit of human development and to strengthening the sense of belonging in different communities.

Authors:
David Jerez Sánchez, Universidad Tecnológica Metropolitana, Chile

About the Presenter(s)
David Alberto Jerez Sánchez. Researcher at the UTEM Design Department. Current project: Mural entitled Resonancia de Flujo (Flow Resonance), representing the knowledge, memories and practices of resistance in the context of Latin American fine arts.

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