The presence of cities in art and the presence of art in cities are two fields which have often been studied separately, be it by different disciplines (history, geography, sociology, etc.) or by various approaches within a single discipline (cultural geography or urban geography for example). Nevertheless, the increasing visibility of culture in general, and art in particular (see Debroux’s paper in this issue), in cities since the end of the 20th century tends to challenge this strict separation. Indeed, art is more and more understood as an integral part of the urban fabric in a post-industrial era. Not only are the spaces and places of art in cities being redefined, but so are its functions and relations to the urban environment. Consequently, one can wonder to what extent art – in its various forms (sculptures, murals, performances, etc.) – is urbanized in that process and the degrees to which cities are subsequently aestheticized or “artialized” (Roger, 1997). This line of inquiry explains why art is becoming a subject as well as an object (Volvey, 2014) or even a method for geographers (Hawkins, 2011), and more specifically for urban geographers, urban planners and urbanists (Vivant, 2006; Gresillon, 2010; Molina, 2010; Boichot, 2012; Debroux, 2012; Zebracki, 2012; Guinard, 2014). But of course, the spatial and urban approach of art is not exempt from theoretical and methodological issues. How could urban geographers, urban planners or urbanists study not only art in cities but also cities in art? Are there specific tools they might use to do so? To what extent can a spatial and urban approach of art be distinguishable from the one offered by other research fields such as the sociology of art or art history? This thematic journal issue explores the potential theoretical and empirical inputs that a spatial and urban approach of art can bring to the understanding of both arts and cities. Previous researches have already explored a city or several cities in a transversal perspective and on the urban scale in order to analyze cultural and artistic urban politics and the role they play in urban development (Ducret 1994; Landry 1995, 2000; Allen 2000, 2005; Sibertin-Blanc 2008; Gresillon 2014). But the studies that explore the relations between arts and cities and the urban spaces at a finer scale are still fragmented, either according to geographical areas (primarily North America, Europe, East Asia, and secondarily Middle East, Africa, etc.) or artistic media (public art, visual art, music, dance, cinema, literature, etc.). By bringing together innovative and original researches that investigate different urban contexts – with different locations or sizes (Atlanta, Los Angeles, Lyon, Paris, Palestinian refugees’ camps, Rio de Janeiro, Toulouse) – and various forms of art (contemporary art, street art, cinema, music), this issue intends to overcome this fragmentation by building bridges between cities and arts. The importance of compariso
{"title":"Arts in Cities - Cities in Arts","authors":"Géraldine Molina, P. Guinard","doi":"10.4000/articulo.3435","DOIUrl":"https://doi.org/10.4000/articulo.3435","url":null,"abstract":"The presence of cities in art and the presence of art in cities are two fields which have often been studied separately, be it by different disciplines (history, geography, sociology, etc.) or by various approaches within a single discipline (cultural geography or urban geography for example). Nevertheless, the increasing visibility of culture in general, and art in particular (see Debroux’s paper in this issue), in cities since the end of the 20th century tends to challenge this strict separation. Indeed, art is more and more understood as an integral part of the urban fabric in a post-industrial era. Not only are the spaces and places of art in cities being redefined, but so are its functions and relations to the urban environment. Consequently, one can wonder to what extent art – in its various forms (sculptures, murals, performances, etc.) – is urbanized in that process and the degrees to which cities are subsequently aestheticized or “artialized” (Roger, 1997). \u0000 \u0000This line of inquiry explains why art is becoming a subject as well as an object (Volvey, 2014) or even a method for geographers (Hawkins, 2011), and more specifically for urban geographers, urban planners and urbanists (Vivant, 2006; Gresillon, 2010; Molina, 2010; Boichot, 2012; Debroux, 2012; Zebracki, 2012; Guinard, 2014). But of course, the spatial and urban approach of art is not exempt from theoretical and methodological issues. How could urban geographers, urban planners or urbanists study not only art in cities but also cities in art? Are there specific tools they might use to do so? To what extent can a spatial and urban approach of art be distinguishable from the one offered by other research fields such as the sociology of art or art history? This thematic journal issue explores the potential theoretical and empirical inputs that a spatial and urban approach of art can bring to the understanding of both arts and cities. \u0000 \u0000Previous researches have already explored a city or several cities in a transversal perspective and on the urban scale in order to analyze cultural and artistic urban politics and the role they play in urban development (Ducret 1994; Landry 1995, 2000; Allen 2000, 2005; Sibertin-Blanc 2008; Gresillon 2014). But the studies that explore the relations between arts and cities and the urban spaces at a finer scale are still fragmented, either according to geographical areas (primarily North America, Europe, East Asia, and secondarily Middle East, Africa, etc.) or artistic media (public art, visual art, music, dance, cinema, literature, etc.). By bringing together innovative and original researches that investigate different urban contexts – with different locations or sizes (Atlanta, Los Angeles, Lyon, Paris, Palestinian refugees’ camps, Rio de Janeiro, Toulouse) – and various forms of art (contemporary art, street art, cinema, music), this issue intends to overcome this fragmentation by building bridges between cities and arts. The importance of compariso","PeriodicalId":38124,"journal":{"name":"Articulo - Journal of Urban Research","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86195024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Urban mega-projects are commonly deemed a symbol of public-private alliances where redistribution of public money into private hands is common practice. They tend to be great platforms for strategically positioned companies in the private sector to place their services and maximise profits. Such dispossession processes are often actively orchestrated and backed by the state. Theorising through the concept of accumulation by dispossession, this article undertakes a closer examination on how these processes are arranged. Of special interest will be the role of state actors and the way they use legal manoeuvrings in organising dispossession. Using the example of Madrid´s large-scale riverfront regeneration, the analysis reveals how the local government made use of their monopoly of legal power by altering, circumventing and ignoring legal regulations to the benefit of certain economic actors in the private sector while at the same time dispossessing the larger urban population of (future) public spending.
{"title":"Serving the private good through legal manoeuvrings. Urban mega-projects and state-mediated dispossession in Madrid","authors":"Nina Margies","doi":"10.4000/ARTICULO.3238","DOIUrl":"https://doi.org/10.4000/ARTICULO.3238","url":null,"abstract":"Urban mega-projects are commonly deemed a symbol of public-private alliances where redistribution of public money into private hands is common practice. They tend to be great platforms for strategically positioned companies in the private sector to place their services and maximise profits. Such dispossession processes are often actively orchestrated and backed by the state. Theorising through the concept of accumulation by dispossession, this article undertakes a closer examination on how these processes are arranged. Of special interest will be the role of state actors and the way they use legal manoeuvrings in organising dispossession. Using the example of Madrid´s large-scale riverfront regeneration, the analysis reveals how the local government made use of their monopoly of legal power by altering, circumventing and ignoring legal regulations to the benefit of certain economic actors in the private sector while at the same time dispossessing the larger urban population of (future) public spending.","PeriodicalId":38124,"journal":{"name":"Articulo - Journal of Urban Research","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83355581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tertiary students’ activities within neighbourhoods adjacent to universities engender positive and negative impacts that have consequences for neighbourhood sustainability. This might lead to studentification, a process that triggers physical, economic and socio-cultural transformation of university towns. Where non-student residents perceive negative impacts, it can lead to conflict and resentment towards the student population, mistrust between student and local resident groups and a decrease in social capital. This paper uses a case study of two neighbourhoods adjacent to a university in Australia to explore ways to integrate students within university neighbourhoods to ensure those communities remain cohesive and sustainable. Focus groups of local residents were held to elicit data and answer the research questions. We refer to social capital and community development theories of social contact and dialogue, to identify how already studentified neighbourhoods or neighbourhoods, which have not dealt with an influx of ‘others’, might apply these theories to become more sustainable. Our unique contribution suggests the use of urban planning policy approaches, including careful dispersion of purpose-built-student-accommodation (PBSA) and registration/licencing of operators of shared housing/ house(s)-in-multiple-occupation (HMOs), to optimally integrate students within university neighbourhoods and mitigate the deleterious effects of studentification.
{"title":"Optimising Tertiary Student Accommodation within University Neighbourhoods","authors":"N. Ike, C. Baldwin, A. Lathouras","doi":"10.4000/ARTICULO.3243","DOIUrl":"https://doi.org/10.4000/ARTICULO.3243","url":null,"abstract":"Tertiary students’ activities within neighbourhoods adjacent to universities engender positive and negative impacts that have consequences for neighbourhood sustainability. This might lead to studentification, a process that triggers physical, economic and socio-cultural transformation of university towns. Where non-student residents perceive negative impacts, it can lead to conflict and resentment towards the student population, mistrust between student and local resident groups and a decrease in social capital. This paper uses a case study of two neighbourhoods adjacent to a university in Australia to explore ways to integrate students within university neighbourhoods to ensure those communities remain cohesive and sustainable. Focus groups of local residents were held to elicit data and answer the research questions. We refer to social capital and community development theories of social contact and dialogue, to identify how already studentified neighbourhoods or neighbourhoods, which have not dealt with an influx of ‘others’, might apply these theories to become more sustainable. Our unique contribution suggests the use of urban planning policy approaches, including careful dispersion of purpose-built-student-accommodation (PBSA) and registration/licencing of operators of shared housing/ house(s)-in-multiple-occupation (HMOs), to optimally integrate students within university neighbourhoods and mitigate the deleterious effects of studentification.","PeriodicalId":38124,"journal":{"name":"Articulo - Journal of Urban Research","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82327517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The literature on metropolitan governance is replete with examples of collaborative efforts that have fallen short of expectations and grim prognoses of the potential for voluntary forms of regional governance. This article analyzes something often sought, and rarely found, in American metropolitan politics: successful, effective, and sustained interjurisdictional and interagency cooperation. TRANSCOM, a non-profit transportation organization, stands out as an instance of successful collective cooperation. Operating behind the scenes in one of the world’s most politically fragmented metropolitan areas, its secret has been (a) engaging and building upon a clear and focused mission; (b) demonstrating organizational legitimacy by providing tangible benefits to members; (c) executing its mission without impinging on members’ organizational autonomy; (d) creatively tapping into available resources; (e) sustaining buy-in by developing strong relationships with members; and (f) seeking out champions and empowering decisive and strategic leadership.
{"title":"Mitigating Gridlock: Lessons on Regional Governance from the Organization that Keeps New York Moving","authors":"P. Plotch, Jen Nelles","doi":"10.4000/ARTICULO.3290","DOIUrl":"https://doi.org/10.4000/ARTICULO.3290","url":null,"abstract":"The literature on metropolitan governance is replete with examples of collaborative efforts that have fallen short of expectations and grim prognoses of the potential for voluntary forms of regional governance. This article analyzes something often sought, and rarely found, in American metropolitan politics: successful, effective, and sustained interjurisdictional and interagency cooperation. TRANSCOM, a non-profit transportation organization, stands out as an instance of successful collective cooperation. Operating behind the scenes in one of the world’s most politically fragmented metropolitan areas, its secret has been (a) engaging and building upon a clear and focused mission; (b) demonstrating organizational legitimacy by providing tangible benefits to members; (c) executing its mission without impinging on members’ organizational autonomy; (d) creatively tapping into available resources; (e) sustaining buy-in by developing strong relationships with members; and (f) seeking out champions and empowering decisive and strategic leadership.","PeriodicalId":38124,"journal":{"name":"Articulo - Journal of Urban Research","volume":"92 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83792343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper deals with the political dimension of the urban public space. It examines the political meaning of a contemporary statuary. The research carried out in Montpellier (France) deals with three public spaces which gather most of the contemporary statues. We explore the emblematic images (or images of images) of universal, real or mythical characters as several arguments in order to overhaul a new political order in and by the urban public space. This order is read in the perspective of an historical assertion of the territorial identity of the city of Montpellier. We use some aspects of the semiotic triad (icon, index, symbol) of Charles Peirce's theory of signs. First, we consider the new mesh size of the urban public space, which is understood as the expression of a territorial personal foresight, thought by Georges Freche, former mayor of Montpellier. Then, the obsolete civic imagery is reformulated by valuing a social imagery which takes part in an historical urban rhetoric. A triple dimensioning of the historical path of Montpellier is identified: it appears as Mediterranean, revolutionary and global. Finally, in line with the critical urban geography developed, it results in three political effects of the statuary: the first formulates new principles for public-spiritedness and civility through the citadinity; secondly, in a form of paradox, these statues tell a story about the future of the city; last, it shows how a political leader makes space a political one.
{"title":"The Political Mission of Contemporary Urban Statuary. Image, History and Territorial Identity in Montpellier (France)","authors":"L. Viala","doi":"10.4000/ARTICULO.4058","DOIUrl":"https://doi.org/10.4000/ARTICULO.4058","url":null,"abstract":"This paper deals with the political dimension of the urban public space. It examines the political meaning of a contemporary statuary. The research carried out in Montpellier (France) deals with three public spaces which gather most of the contemporary statues. We explore the emblematic images (or images of images) of universal, real or mythical characters as several arguments in order to overhaul a new political order in and by the urban public space. This order is read in the perspective of an historical assertion of the territorial identity of the city of Montpellier. We use some aspects of the semiotic triad (icon, index, symbol) of Charles Peirce's theory of signs. First, we consider the new mesh size of the urban public space, which is understood as the expression of a territorial personal foresight, thought by Georges Freche, former mayor of Montpellier. Then, the obsolete civic imagery is reformulated by valuing a social imagery which takes part in an historical urban rhetoric. A triple dimensioning of the historical path of Montpellier is identified: it appears as Mediterranean, revolutionary and global. Finally, in line with the critical urban geography developed, it results in three political effects of the statuary: the first formulates new principles for public-spiritedness and civility through the citadinity; secondly, in a form of paradox, these statues tell a story about the future of the city; last, it shows how a political leader makes space a political one.","PeriodicalId":38124,"journal":{"name":"Articulo - Journal of Urban Research","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89140501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Brazil’s post-neoliberal government, social policies became the bedrock for a new political economy predicated on poverty alleviation via market inclusion. This article draws from long-term ethnographical research conducted among beneficiaries of Minha Casa Minha Vida—Brazil’s largest housing policy. I am interested in the myriad ways policy designs and its contentious operation symbiotically reshape sociability and kin among first-time homeowners. I take a closer look at how ideas and configurations of the family travel across intimate and public domains—from communitarian politics to household economies—and are anxiously negotiated, becoming the indexer of experiential moral systems of care. Transitioning across multi-scalar instances of everyday sociality, I interrogate how such economies conflate with the infrastructures and pervasive imaginaries of the house in the local machineries of the policy.
{"title":"House-ing Urban Kin. Family Configurations, Household Economies and Inequality in Brazil’s Public Housing","authors":"M. Kopper","doi":"10.4000/articulo.4400","DOIUrl":"https://doi.org/10.4000/articulo.4400","url":null,"abstract":"In Brazil’s post-neoliberal government, social policies became the bedrock for a new political economy predicated on poverty alleviation via market inclusion. This article draws from long-term ethnographical research conducted among beneficiaries of Minha Casa Minha Vida—Brazil’s largest housing policy. I am interested in the myriad ways policy designs and its contentious operation symbiotically reshape sociability and kin among first-time homeowners. I take a closer look at how ideas and configurations of the family travel across intimate and public domains—from communitarian politics to household economies—and are anxiously negotiated, becoming the indexer of experiential moral systems of care. Transitioning across multi-scalar instances of everyday sociality, I interrogate how such economies conflate with the infrastructures and pervasive imaginaries of the house in the local machineries of the policy.","PeriodicalId":38124,"journal":{"name":"Articulo - Journal of Urban Research","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83221073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, I would like to question the political power of images in the urban space. To do this, I rely on the confrontation of two types of images displayed in Calais, a city now associated with the "migrant problem". On the one hand, I will study four interventions by street artist Banksy. On the other side, I will analyse images made by anonymous artists, in remote, less visible sites, on the walls, on the doors or on the windows of squats including migrants. While Banksy's images convey a political message denouncing the situation of migrants, politicians in Calais have said they want to protect these paintings. Conversely, anonymous images, which do not convey any political message, are systematically erased or rendered inaccessible. Based on the work of Michel Foucault, Jacques Ranciere and Etienne Balibar, I would like to show that this paradox is perhaps explained less by the celebrity of Banksy than by the relation of images to space: Banksy’s murals maintain, even perpetuate, the divisions of space and the relations between social groups constituting the established order, whereas anonymous images suspend them for a while, to make heterotopic places exist.
{"title":"Pictures that denounce? In the Jungle of Calais, Banksy and the Hearts of Cardboard","authors":"Damien Darcis","doi":"10.4000/ARTICULO.3863","DOIUrl":"https://doi.org/10.4000/ARTICULO.3863","url":null,"abstract":"In this paper, I would like to question the political power of images in the urban space. To do this, I rely on the confrontation of two types of images displayed in Calais, a city now associated with the \"migrant problem\". On the one hand, I will study four interventions by street artist Banksy. On the other side, I will analyse images made by anonymous artists, in remote, less visible sites, on the walls, on the doors or on the windows of squats including migrants. While Banksy's images convey a political message denouncing the situation of migrants, politicians in Calais have said they want to protect these paintings. Conversely, anonymous images, which do not convey any political message, are systematically erased or rendered inaccessible. Based on the work of Michel Foucault, Jacques Ranciere and Etienne Balibar, I would like to show that this paradox is perhaps explained less by the celebrity of Banksy than by the relation of images to space: Banksy’s murals maintain, even perpetuate, the divisions of space and the relations between social groups constituting the established order, whereas anonymous images suspend them for a while, to make heterotopic places exist.","PeriodicalId":38124,"journal":{"name":"Articulo - Journal of Urban Research","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88841777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Vicinage is a word that emerged in Southern African ethnography in the 1960s to describe how, within a neighbourhood, some houses are more constitutionally linked with each other due to the residential and kinship history of the people who inhabit them (that is, due to the continued identities that the residents transport). In this paper, I treat houses as being in ontogeny, a constant process of self-constitution. Much as Marilyn Strathern argued for persons, houses are dividual in that their singularity comes about through an act of alliance, but they remain ever enmeshed within a set of co-presences that mean they are also partible, for their existence is ever dependent on the existence of other households in the vicinage. The essay focuses on three distinct types of vicinage, endeavouring to show what distinguishes them and what they have in common: among the Chopi of southern Mozambique, as studied by David Webster in the 1960s; in northwestern Iberia, both in the countryside and in urban contexts, as studied by myself in the 1980s; and among the periurban populations of southern Bahia with special reference to the work of Marcellin in Cachoeira in the early 2000s.
{"title":"Partible Houses. Variants of Vicinage in Mozambique, Portugal and Brazil","authors":"J. Pina-Cabral","doi":"10.4000/articulo.4434","DOIUrl":"https://doi.org/10.4000/articulo.4434","url":null,"abstract":"Vicinage is a word that emerged in Southern African ethnography in the 1960s to describe how, within a neighbourhood, some houses are more constitutionally linked with each other due to the residential and kinship history of the people who inhabit them (that is, due to the continued identities that the residents transport). In this paper, I treat houses as being in ontogeny, a constant process of self-constitution. Much as Marilyn Strathern argued for persons, houses are dividual in that their singularity comes about through an act of alliance, but they remain ever enmeshed within a set of co-presences that mean they are also partible, for their existence is ever dependent on the existence of other households in the vicinage. The essay focuses on three distinct types of vicinage, endeavouring to show what distinguishes them and what they have in common: among the Chopi of southern Mozambique, as studied by David Webster in the 1960s; in northwestern Iberia, both in the countryside and in urban contexts, as studied by myself in the 1980s; and among the periurban populations of southern Bahia with special reference to the work of Marcellin in Cachoeira in the early 2000s.","PeriodicalId":38124,"journal":{"name":"Articulo - Journal of Urban Research","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81358664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between the 1950s and 1989, Kodak continuously occupied a surface of approximately one hundred square metres in New York’s Grand Central Station with a display of panoramic photographs that were changed regularly. These giant “Coloramas” presented photographed scenes that were taken specifically for the project, with the hundreds of images displayed during this period all showing an idealised representation of the American family. These photographs would, however, have remained ordinary had their defining feature not been the placement of the photographer within the frame of the image. By connecting photography to the point of view by which it is constructed, these panoramas seem to prescribe to their public a certain relation to the images, and to initiate a reflexive process which seems to have now become general. The huge area covered by the Coloramas has today given way to the more discreet surface of our smartphones, laptops and other digital tablets, which govern our various visual practices and reorganise the notions of image, point of view and reflexivity in new ways. Between the Coloramas of the 1960s and today’s touch screens, the question arises as to whether the multiplication and spread of visual surface has changed something in the way that image – and thus the gaze – is built in public space.
{"title":"Kodak’s Colorama and the Construction of the Gaze in Public Space","authors":"Vivien Philizot","doi":"10.4000/ARTICULO.3975","DOIUrl":"https://doi.org/10.4000/ARTICULO.3975","url":null,"abstract":"Between the 1950s and 1989, Kodak continuously occupied a surface of approximately one hundred square metres in New York’s Grand Central Station with a display of panoramic photographs that were changed regularly. These giant “Coloramas” presented photographed scenes that were taken specifically for the project, with the hundreds of images displayed during this period all showing an idealised representation of the American family. These photographs would, however, have remained ordinary had their defining feature not been the placement of the photographer within the frame of the image. By connecting photography to the point of view by which it is constructed, these panoramas seem to prescribe to their public a certain relation to the images, and to initiate a reflexive process which seems to have now become general. The huge area covered by the Coloramas has today given way to the more discreet surface of our smartphones, laptops and other digital tablets, which govern our various visual practices and reorganise the notions of image, point of view and reflexivity in new ways. Between the Coloramas of the 1960s and today’s touch screens, the question arises as to whether the multiplication and spread of visual surface has changed something in the way that image – and thus the gaze – is built in public space.","PeriodicalId":38124,"journal":{"name":"Articulo - Journal of Urban Research","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81402887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The social sciences were long dominated by the notion that cities are places where kinship ties are weakened. Since the seminal works of Emile Durkheim (1892) and Frederic Le Play (1884), followed by the theories of Talcott Parsons (Parsons and Bales 1955), a connection has been made between urbanization, the emergence of the nuclear family and the modernization of society. Sociologists of the Chicago School thus described the contemporary city as a place of individual emancipation and electi...
长期以来，社会科学一直被这样一种观念所主导:城市是亲属关系减弱的地方。自从埃米尔·迪尔凯姆(1892)和弗雷德里克·勒普莱(1884)的开创性著作，以及塔尔科特·帕森斯(Parsons and Bales, 1955)的理论之后，城市化、核心家庭的出现和社会现代化之间建立了联系。因此，芝加哥学派的社会学家将当代城市描述为一个个人解放和选举的地方。
{"title":"Urban Kinships. Everyday Kinship and the Making of the City","authors":"Thomas Pfirsch, Consuelo Araos","doi":"10.4000/articulo.4337","DOIUrl":"https://doi.org/10.4000/articulo.4337","url":null,"abstract":"The social sciences were long dominated by the notion that cities are places where kinship ties are weakened. Since the seminal works of Emile Durkheim (1892) and Frederic Le Play (1884), followed by the theories of Talcott Parsons (Parsons and Bales 1955), a connection has been made between urbanization, the emergence of the nuclear family and the modernization of society. Sociologists of the Chicago School thus described the contemporary city as a place of individual emancipation and electi...","PeriodicalId":38124,"journal":{"name":"Articulo - Journal of Urban Research","volume":"116 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87605519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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