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Monument
Somethingerectedinmemoryofaperson,ev ent,etc.,asa building,pillar,orstatue. Anybuilding,megalith,etc.,survivingfroma pastage,and regardedasofhistoricalorarchaeologicalimp ortance. Anyenduringevidenceornotableexampleof something. (dictionary.com)
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Public Monuments
Guide our direction Found in Public Spaces Art Symbol of Collective Experience
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Symbolizes EDSA as a revolution and a miracle People Power Monument = Inang Bayan Virgin Mary symbolizes the involvement of the Church during the revolution and their gratitude for the miracle that occurred during that time.
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Monument of people who died for democracy Declaresthat theheroicmonumentis a collectivegoal andgoing throughahistoric process.
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Public Monuments
Funded by the Government (Political Interest) Representation of ideologies such as iconography of heroism, bravery, popularity, power, significance of a person or event.
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Public Monuments
Corporations could also be responsible in the creation of public monuments & arts. According to the Greeks, Ecology is our home.
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2 Types of Monuments
1. Sculptural pieces are not, strictly speaking, monuments, in the sense that they do not commemorate anything in particular, which in time become a recognizable landmark in a given site.
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2 Types of Monuments
2. Monuments that are not modified or diminished by urban expansion either take on new meanings or become local points of reference.
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The development of capitalism has distributed objects and signs throughout specific sites. A meticulous classification of objects and the language used to refer to them maintains the systematic organization of social spaces where they are to be consumed.
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The typologies are dramatizations of the conflicts among the various social forces:
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Monuments are open to urban dynamics, enabling history to interact with the new developments in social life. Monuments are linked to the prevailing anxieties of the modern age through graffiti or mass demonstrations.
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Monuments are instruments used by political powers to enshrine the principal heroes and the pivotal events of the State.
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Billboards attempt to synchronize daily life with the interest of economic power. Graffiti express popular criticism of the imposed order.
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Historical landmarks are quietly integrated into contemporary life but, rather, a living organism capable of merging its past and present struggles.
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Monuments become more meaningful when resumed by the common man, when they are incorporated into the struggle for symbolic power and, consequently, into the contradictions of daily life.
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Monuments can give a new meaning to history, to the transformation of our sensitive and symbolic relations vis--vis the environment.
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It should not glorify the city as the hub of power but, rather, should designate and recall its common meeting places and democratic exchanges.
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