Podcasts about Henri Lefebvre

[caption id="attachment_5359" align="aligncenter" width="1024"] "Dolmen de Menga entrance: Massive stone portal of 6,000-year-old Neolithic tomb in Antequera, Spain."[/caption][caption id="attachment_5354" align="aligncenter" width="1024"] "La Peña de los Enamorados: Distinctive mountain face aligned with Dolmen de Menga, resembling human profile."[/caption] Key Ideas: The invention of architecture during the Neolithic period marked a significant shift in human psychology and religion, creating a division between natural and man-made spaces and giving rise to new concepts of ownership, territoriality, and sacred spaces. The relationship between architecture and the awareness of death is explored, with the idea that built structures allowed humans to create a sense of permanence and continuity in the face of mortality. Neolithic dolmens and their alignment with the summer solstice may have played a crucial role in rituals related to death, the afterlife, and the cyclical nature of the cosmos. The astronomical alignment of the Dolmen de Menga is part of a larger pattern of archaeoastronomical significance in Neolithic monuments across Europe, suggesting a shared cosmological understanding among ancient societies. Neolithic art and architecture, including the use of red ochre and iron oxide paintings, may be linked to shamanic practices and altered states of consciousness. Peter Sloterdijk's theory of spheres is applied to understand the evolution of human spatial awareness and the desire to recreate protected, womb-like spaces through architecture. The fundamental nature of architecture and its role in human life is explored through various philosophical, psychological, and sociological perspectives. Adventure Time with My Daughter My daughter Violet likes the show Adventure Time. She loves mythology, creepy tombs, long dead civilizations and getting to be the first to explore and discover new things. I took my 6-year-old daughter to the Neolithic portal Tomb, or Dolmen, Dolmen de Menga in Antequera, while on a trip to Spain. This ancient megalithic monument, believed to be one of the oldest and largest in Europe, dates back to the 3rd millennium BCE. It is made of 8 ton slabs of stone that archaeologists have a passing idea of how ancient people moved. It has a well drilled through 20 meters of bedrock at the back of it and it is oriented so that the entrance faces a mountain that looks like a sleeping giant the ancient builders might have worshiped. All of this delighted my daughter. The dolmen's impressive architecture features massive stone slabs, some weighing up to 180 tons, forming a 25-meter-long corridor and a spacious chamber. Inside, a well adds to the mystery, possibly used for rituals or as a symbol of the underworld. What's truly fascinating is the dolmen's alignment with the nearby La Peña de los Enamorados mountain. During the summer solstice, the sun rises directly over the mountain, casting its first rays into the dolmen's entrance, illuminating the depths of the chamber. This astronomical alignment suggests the ancient builders had a sophisticated understanding of the cosmos. According to archaeoastronomical studies, the Dolmen de Menga might have served as a symbolic bridge between life and death, connecting the world of the living with the realm of the ancestors. The solstice alignment could have held great spiritual significance, marking a time of renewal, rebirth, and the eternal cycle of existence. Sharing this incredible experience with my daughter and witnessing her awe and curiosity as she felt the weight of boulders that men had moved by hand, is a moment I'll treasure forever.  I reminded her that every time she has seen a building, be it a school or a sky-scraper, it all started here with the birth of architecture, and maybe the birth of something else too. Thinking about prehistory is weird because thinking about the limits of our human understanding is trippy and prehistory is, by definition, before history and therefore written language, meaning we cant really know the subjective experience of anyone who was a part of it. Talking to a child about the limits of what we as a species do or can know are some of my favorite moments as a parent because they are opportunities to teach children the importance of curiosity, intuition and intellectual humility than many adults never learn. Watching Violet contemplate a time when mankind didn't have to tools or advanced scientific knowledge was a powerful moment when I saw her think so deeply about the humanity she was a part of. What the Invention of Architecture did to Psychology Anecdote of the Jar by Wallace Stevens I placed a jar in Tennessee, And round it was, upon a hill. It made the slovenly wilderness Surround that hill.   The wilderness rose up to it, And sprawled around, no longer wild. The jar was round upon the ground And tall and of a port in air.   It took dominion everywhere. The jar was gray and bare. It did not give of bird or bush, Like nothing else in Tennessee. Prior to the advent of architecture, the world was an undivided, seamless entity, with no clear boundaries between human habitation and the natural environment. The construction of dolmens and other architectural structures shattered this unified perception, creating a new paradigm in which humans actively shaped and claimed portions of the earth for their own purposes. This act of claiming space and erecting structures upon it represented a profound psychological shift, as humans began to assert their agency and control over their surroundings. The division of the world into natural and man-made spaces had far-reaching implications for human psychology. It fostered a sense of ownership and territoriality, as individuals and communities began to identify with and attach meaning to the spaces they created. This attachment to claimed spaces gave rise to new concepts of home, belonging, and identity, which were intimately tied to the built environment. Simultaneously, the unclaimed, natural world began to be perceived as a separate entity, one that existed beyond the boundaries of human control and understanding. The impact of this division on religion was equally profound. The creation of man-made spaces, such as dolmens, provided a tangible manifestation of human agency and the ability to shape the world according to human beliefs and desires. These structures became sacred spaces, imbued with religious and spiritual significance, where rituals and ceremonies could be performed. The separation of natural and man-made spaces also gave rise to new religious concepts, such as the idea of sacred and profane spaces, and the belief in the ability of humans to create and manipulate the divine through architectural means. The significance of this division between natural and man-made spaces is beautifully captured in Wallace Stevens' anecdote of the jar. In this short poem, Stevens describes placing a jar in a wilderness, which "took dominion everywhere." The jar, a man-made object, transforms the natural landscape around it, asserting human presence and control over the untamed wilderness. This simple act of placing a jar in the wild encapsulates the profound psychological and religious implications of the invention of architecture. The jar represents the human impulse to claim and shape space, to impose order and meaning upon the chaos of the natural world. It symbolizes the division between the natural and the man-made, and the way in which human creations can alter our perception and understanding of the world around us. Just as the jar takes dominion over the wilderness, the invention of architecture during the Neolithic period forever changed the way humans perceive and interact with their environment, shaping our psychology and religious beliefs in ways that continue to resonate to this day. The Relationship of Architecture to the Awareness of Death Robert Pogue Harrison, a professor of Italian literature and cultural history, has written extensively about the relationship between architecture, human psychology, and our understanding of death. In his book "The Dominion of the Dead," Harrison explores how the invention of architecture fundamentally altered human consciousness and our attitude towards mortality. According to Harrison, the creation of built structures marked a significant shift in human psychology. Before architecture, early humans lived in a world where the natural environment was dominant, and death was an ever-present reality. The invention of architecture allowed humans to create a sense of permanence and stability in the face of the transient nature of life. By constructing buildings and monuments, humans could create a physical manifestation of their existence that would outlast their individual lives. This allowed for a sense of continuity and the ability to leave a lasting mark on the world. Harrison argues that architecture became a way for humans to assert their presence and create a symbolic defense against the inevitability of death. Moreover, Harrison suggests that the invention of architecture gave rise to the concept of the "afterlife." By creating tombs, pyramids, and other burial structures, humans could imagine a realm where the dead continued to exist in some form. These architectural spaces served as a bridge between the world of the living and the world of the dead, providing a sense of connection and continuity. Harrison also argues that architecture played a crucial role in the development of human culture and collective memory. Buildings and monuments became repositories for shared histories, myths, and values. They served as physical anchors for cultural identity and helped to create a sense of belonging and shared purpose among communities. However, Harrison also notes that architecture can have a complex relationship with death. While it can provide a sense of permanence and a symbolic defense against mortality, it can also serve as a reminder of our own impermanence. The ruins of ancient civilizations and the decay of once-great buildings can evoke a sense of melancholy and serve as a testament to the ultimate transience of human existence. Death and Ritual through Architecture Recent archaeological findings have shed light on the potential significance of the alignment of Neolithic dolmens with the summer solstice. These ancient stone structures, found throughout Europe and beyond, have long been shrouded in mystery. However, the precise positioning of these megalithic tombs suggests that they may have played a crucial role in Stone Age rituals related to death, the afterlife, and the cyclical nature of the cosmos. On the day of the summer solstice, when the sun reaches its highest point in the sky and casts its longest rays, a remarkable phenomenon occurs within certain dolmens. The light penetrates through the narrow entrance, illuminating the interior chamber and reaching the furthest recesses of the tomb. This alignment, achieved with great intentionality and skill, has led archaeologists to speculate about the beliefs and practices of the Neolithic people who constructed these monumental structures. One theory suggests that the dolmens served as portals for the souls of the deceased to ascend to the heavenly bodies. The sun, often revered as a divine entity in ancient cultures, may have been seen as the ultimate destination for the spirits of the dead. By aligning the dolmen with the solstice, the Neolithic people perhaps believed that they were creating a direct pathway for the souls to reach the sun and achieve a form of celestial immortality. Another interpretation posits that the solstice alignment was a way to honor and commemorate the dead. The penetrating light, reaching the innermost chamber of the dolmen, could have been seen as a symbolic reunion between the living and the deceased. This annual event may have served as a time for the community to gather, pay respects to their ancestors, and reaffirm the enduring bond between the generations. Furthermore, the cyclical nature of the solstice, marking the longest day of the year and the subsequent return of shorter days, may have held profound symbolic meaning for the Neolithic people. The alignment of the dolmen with this celestial event could have been interpreted as a representation of the cycle of life, death, and rebirth. Just as the sun reaches its peak and then begins its descent, the dolmen's illumination on the solstice may have symbolized the passage from life to death and the promise of eventual renewal. While we may never know with certainty the exact beliefs and rituals associated with the Neolithic dolmens and their solstice alignment, the structures themselves stand as testaments to the ingenuity, astronomical knowledge, and spiritual convictions of our ancient ancestors. The precision and effort required to construct these megalithic tombs and align them with the heavens suggest a deep reverence for the dead and a belief in the interconnectedness of life, death, and the cosmos. The Astronomical Alignment of the Dolmen de Menga and Its Broader Significance The astronomical alignment of the Dolmen de Menga with the summer solstice sunrise is not an isolated phenomenon, but rather part of a larger pattern of archaeoastronomical significance in Neolithic monuments across Europe and beyond. Many megalithic structures, such as Newgrange in Ireland and Maeshowe in Scotland, have been found to have precise alignments with solar and lunar events, suggesting that the ancient builders had a sophisticated understanding of the movements of celestial bodies and incorporated this knowledge into their architectural designs. The alignment of the Dolmen de Menga with the summer solstice sunrise may have held profound symbolic and ritual significance for the Neolithic community that built and used the structure. The solstice, as a moment of transition and renewal in the natural cycle of the year, could have been associated with themes of rebirth, fertility, and the regeneration of life. The penetration of the sun's first rays into the inner chamber of the dolmen on this date may have been seen as a sacred union between the celestial and terrestrial realms, a moment of cosmic alignment and heightened spiritual potency. The incorporation of astronomical alignments into Neolithic monuments across Europe suggests that these ancient societies had a shared cosmological understanding and a deep reverence for the cycles of the sun, moon, and stars. The construction of megalithic structures like the Dolmen de Menga can be seen as an attempt to harmonize human activity with the larger rhythms of the cosmos, creating a sense of unity and connection between people and the natural and celestial worlds they inhabited. Originally these structures were probably lovingly adorned with paint and patterns. This paint was usually made of red ochre and iron oxide.  We know that because the paintings that are left in Iberia are made of these materials and the extremely few neolithic portal tombs that were protected from the elements still have geographic markings.   [caption id="attachment_5367" align="aligncenter" width="715"] Here is me hiking up to look at some iron oxide neolithic paintings[/caption][caption id="attachment_5365" align="aligncenter" width="605"] Here is a little guy made out of iron oxide who is about six thousand years old[/caption][caption id="attachment_5372" align="aligncenter" width="466"] The 4th millennium BC painting inside the Dolmen Anta de Antelas in Iberia[/caption]   Some researchers, such as David Lewis-Williams and Thomas Dowson, have proposed that the geometric patterns and designs found in Neolithic art and architecture may represent the visions experienced by shamans during altered states of consciousness. Other scholars, like Michael Winkelman, argue that shamanism played a crucial role in the development of early human cognition and social organization. According to this theory, the construction of sacred spaces like the Dolmen de Menga may have been closely tied to the practices and beliefs of shaman cults, who served as intermediaries between the physical and spiritual realms. What is Architecture: Why did we invent it? Philosopher, Peter Sloterdijk's theory of spheres, particularly his concept of the first primal globe and its subsequent splitting, offers an intriguing framework for understanding the evolution of human spatial awareness and its manifestations in art and architecture. Sloterdijk's "spherology" posits that human existence is fundamentally about creating and inhabiting spheres - protected, intimate spaces that provide both physical and psychological shelter. The "first primal globe" in his theory refers to the womb, the original protected space that humans experience. According to Sloterdijk, the trauma of birth represents a splitting of this primal sphere, leading humans to constantly seek to recreate similar protective environments throughout their lives and cultures. This concept of sphere-creation and inhabitation can be seen as a driving force behind much of human culture and architecture. Applying this framework to Neolithic architecture like dolmens and portal tombs, we might interpret these structures as attempts to recreate protected, womb-like spaces on a larger scale. These stone structures, with their enclosed spaces and narrow entrances, could be seen as physical manifestations of the desire to recreate the security and intimacy of the "primal sphere" and our universal interaction with it through the archetype of birth. In the Neolithic period, the world was perceived as an undifferentiated sphere, where the sacred and the secular were intimately intertwined. The concept of separate realms for the divine and the mundane had not yet emerged, and the universe was experienced as a single, all-encompassing reality. In this context, the creation of the earliest permanent architecture, such as portal tombs, represents a significant milestone in human history, marking the beginning of a fundamental shift in how humans understood and organized their environment. Portal tombs, also known as dolmens, are among the most enigmatic and captivating architectural structures of the Neolithic era. These megalithic monuments, consisting of large upright stones supporting a massive horizontal capstone, have puzzled and intrigued researchers and visitors alike for centuries. While their exact purpose remains a subject of debate, many scholars believe that portal tombs played a crucial role in the emergence of the concept of sacred space and the demarcation of the secular and the divine. Mircea Eliade. In his seminal work, "The Sacred and the Profane," Eliade argues that the creation of sacred space is a fundamental aspect of human religiosity, serving to distinguish the realm of the divine from the ordinary world of everyday existence. He suggests that the construction of portal tombs and other megalithic structures in the Neolithic period represents an early attempt to create a liminal space between the sacred and the secular, a threshold where humans could encounter the numinous and connect with the spiritual realm. Remember that this was the advent of the most basic technology, or as Slotedijik might label it, anthropotechnics. The idea that sacred and secular space could even be separated was itself a technological invention, or rather made possible because of one. Anthropotechnics refers to the various practices, techniques, and systems humans use to shape, train, and improve themselves. It encompasses the methods by which humans attempt to modify their biological, psychological, and social conditions. The Nature of Architecture and Its Fundamental Role in Human Life Architecture, at its core, is more than merely the design and construction of buildings. It is a profound expression of human creativity, culture, and our relationship with the world around us. Throughout history, scholars and theorists have sought to unravel the fundamental nature of architecture and its impact on the human experience. By examining various theories and perspectives, we can gain a deeper understanding of the role that architecture plays in shaping our lives and the societies in which we live. One of the most influential thinkers to explore the essence of architecture was the philosopher Hannah Arendt. In her work, Arendt emphasized the importance of the built environment in creating a sense of stability, permanence, and shared experience in human life. She argued that architecture serves as a tangible manifestation of the human capacity for creation and the desire to establish a lasting presence in the world. Arendt's ideas highlight the fundamental role that architecture plays in providing a physical framework for human existence. By creating spaces that endure over time, architecture allows us to anchor ourselves in the world and develop a sense of belonging and continuity. It serves as a backdrop against which the drama of human life unfolds, shaping our experiences, memories, and interactions with others. Other theorists, such as Martin Heidegger and Gaston Bachelard, have explored the philosophical and psychological dimensions of architecture. Heidegger, in his essay "Building Dwelling Thinking," argued that the act of building is intimately connected to the human experience of dwelling in the world. He suggested that architecture is not merely a matter of creating functional structures, but rather a means of establishing a meaningful relationship between individuals and their environment. Bachelard, in his book "The Poetics of Space," delved into the emotional and imaginative aspects of architecture. He explored how different spaces, such as homes, attics, and basements, evoke specific feelings and memories, shaping our inner lives and sense of self. Bachelard's ideas highlight the powerful psychological impact that architecture can have on individuals, serving as a catalyst for introspection, creativity, and self-discovery. From a sociological perspective, theorists like Henri Lefebvre and Michel Foucault have examined the ways in which architecture reflects and reinforces power structures and social hierarchies. Lefebvre, in his book "The Production of Space," argued that architecture is not merely a neutral container for human activity, but rather a product of social, political, and economic forces. He suggested that the design and organization of space can perpetuate inequality, segregation, and control, shaping the way individuals and communities interact with one another. Foucault, in his work on disciplinary institutions such as prisons and hospitals, explored how architecture can be used as a tool for surveillance, regulation, and the exercise of power. His ideas highlight the potential for architecture to serve as an instrument of social control, influencing behavior and shaping the lives of those who inhabit or interact with the built environment. By engaging with the diverse theories and perspectives on architecture, we can develop a more nuanced understanding of its role in shaping the human experience. From the philosophical insights of Arendt and Heidegger to the psychological explorations of Bachelard and the sociological critiques of Lefebvre and Foucault, each perspective offers a unique lens through which to examine the essence of architecture and its impact on our lives. As we continue to grapple with the challenges of an increasingly urbanized and globalized world, the study of architecture and its fundamental nature becomes more important than ever. By unlocking the secrets of this ancient and enduring art form, we may find new ways to create spaces that nurture the human spirit, foster connection and belonging, and shape a built environment that truly reflects our highest values and aspirations. Violet's Encounter with the Dolmen It is a common misconception to think of children as blank slates, mere tabula rasas upon which culture and experience inscribe themselves. In truth, children are born with the same primal unconscious that has been part of the human psyche since prehistory. They are simply closer to this wellspring of archetypes, instincts, and imaginative potentials than most adults, who have learned to distance themselves from it through the construction of a rational, bounded ego. While I talked to the archaeologist on site of the Dolmen de Menga, I saw the that these rituals and symbols are still alive in the unconscious of modern children just as they were in the stone age. I looked at the ground to see that Violet was instinctually making a little Dolmen out of dirt. My daughter Violet's recent fear of the dark illustrates this innate connection to the primal unconscious. When she wakes up afraid in the middle of the night, I try to reassure her by explaining that the shadows that loom in the darkness are nothing more than parts of herself that she does not yet know how to understand yet or integrate. They are manifestations of the unknown, the numinous, the archetypal - all those aspects of the psyche that can be terrifying in their raw power and otherness, but that also hold the keys to creativity, transformation, and growth. Violet intuitively understands this link between fear and creativity. She has begun using the very things that frighten her as inspiration for her storytelling and artwork, transmuting her nighttime terrors into imaginative narratives and symbols. This process of turning the raw materials of the unconscious into concrete expressions is a perfect microcosm of the way in which art and architecture have always functioned for humans - as ways of both channeling and containing the primal energies that surge within us. When Violet walked through the Dolmen de Menga and listened to the archaeologist's explanations of how it was built, something in her immediately responded with recognition and understanding. The dolmen's construction - the careful arrangement of massive stones to create an enduring sacred space - made intuitive sense to her in a way that it might not for an adult more removed from the primal architect within. I see this same impulse in Violet whenever we go to the park and she asks me where she can build something that will last forever. Her structures made of sticks and stones by the riverbank, where the groundskeepers will not disturb them, are her way of creating something permanent and visible - her own small monuments to the human drive to make a mark on the world and to shape our environment into a reflection of our inner reality. By exploring the origins of architecture in monuments like the Dolmen de Menga, we can gain insight into the universal human impulse to create meaning, order, and beauty in the built environment. The megalithic structures of the Neolithic period represent some of the earliest and most impressive examples of human creativity and ingenuity applied to the shaping of space and the creation of enduring cultural landmarks. Moreover, studying the astronomical alignments and symbolic significance of ancient monuments can shed light on the fundamental human desire to connect with the larger cosmos and to find our place within the grand cycles of nature and the universe. The incorporation of celestial events into the design and use of structures like the Dolmen de Menga reflects a profound awareness of the interconnectedness of human life with the wider world, a theme that continues to resonate in the art and architecture of cultures throughout history. [caption id="attachment_5361" align="alignnone" width="2560"] Here is my explorer buddy[/caption] Bibliography Arendt, H. (1958). The Human Condition. University of Chicago Press. Bachelard, G. (1994). The Poetics of Space. Beacon Press. Belmonte, J. A., & Hoskin, M. (2002). Reflejo del cosmos: atlas de arqueoastronomía del Mediterráneo antiguo. Equipo Sirius. Criado-Boado, F., & Villoch-Vázquez, V. (2000). Monumentalizing landscape: from present perception to the past meaning of Galician megalithism (north-west Iberian Peninsula). European Journal of Archaeology, 3(2), 188-216. Edinger, E. F. (1984). The Creation of Consciousness: Jung's Myth for Modern Man. Inner City Books. Eliade, M. (1959). The Sacred and the Profane: The Nature of Religion. Harcourt, Brace & World. Foucault, M. (1975). Discipline and Punish: The Birth of the Prison. Vintage Books. Heidegger, M. (1971). Building Dwelling Thinking. In Poetry, Language, Thought. Harper & Row. Jung, C. G. (1968). The Archetypes and the Collective Unconscious. Princeton University Press. Lefebvre, H. (1991). The Production of Space. Blackwell. Lewis-Williams, D., & Dowson, T. A. (1988). The signs of all times: entoptic phenomena in Upper Palaeolithic art. Current Anthropology, 29(2), 201-245. Márquez-Romero, J. E., & Jiménez-Jáimez, V. (2010). Prehistoric Enclosures in Southern Iberia (Andalusia): La Loma Del Real Tesoro (Seville, Spain) and Its Resources. Proceedings of the Prehistoric Society, 76, 357-374. Neumann, E. (1954). The Origins and History of Consciousness. Princeton University Press. Rappenglueck, M. A. (1998). Palaeolithic Shamanistic Cosmography: How Is the Famous Rock Picture in the Shaft of the Lascaux Grotto to be Decoded?. Artepreistorica, 5, 43-75. Ruggles, C. L. (2015). Handbook of Archaeoastronomy and Ethnoastronomy. Springer. Sloterdijk, P. (2011). Bubbles: Spheres Volume I: Microspherology. Semiotext(e). Sloterdijk, P. (2014). Globes: Spheres Volume II: Macrospherology. Semiotext(e). Sloterdijk, P. (2016). Foams: Spheres Volume III: Plural Spherology. Semiotext(e). Turner, V. (1969). The Ritual Process: Structure and Anti-Structure. Aldine Publishing Company. Winkelman, M. (2010). Shamanism: A Biopsychosocial Paradigm of Consciousness and Healing. Praeger. Further Reading: Belmonte, J. A. (1999). Las leyes del cielo: astronomía y civilizaciones antiguas. Temas de Hoy. Bradley, R. (1998). The Significance of Monuments: On the Shaping of Human Experience in Neolithic and Bronze Age Europe. Routledge. Devereux, P. (2001). The Sacred Place: The Ancient Origins of Holy and Mystical Sites. Cassell & Co. Gimbutas, M. (1989). The Language of the Goddess. Harper & Row. Harding, A. F. (2003). European Societies in the Bronze Age. Cambridge University Press. Hoskin, M. (2001). Tombs, Temples and Their Orientations: A New Perspective on Mediterranean Prehistory. Ocarina Books. Ingold, T. (2000). The Perception of the Environment: Essays on Livelihood, Dwelling and Skill. Routledge. Norberg-Schulz, C. (1980). Genius Loci: Towards a Phenomenology of Architecture. Rizzoli. Renfrew, C., & Bahn, P. (2016). Archaeology: Theories, Methods, and Practice. Thames & Hudson. Scarre, C. (2002). Monuments and Landscape in Atlantic Europe: Perception and Society During the Neolithic and Early Bronze Age. Routledge. Sherratt, A. (1995). Instruments of Conversion? The Role of Megaliths in the Mesolithic/Neolithic Transition in Northwest Europe. Oxford Journal of Archaeology, 14(3), 245-260. Tilley, C. (1994). A Phenomenology of Landscape: Places, Paths and Monuments. Berg. Tilley, C. (2010). Interpreting Landscapes: Geologies, Topographies, Identities. Left Coast Press. Twohig, E. S. (1981). The Megalithic Art of Western Europe. Clarendon Press. Watkins, A. (1925). The Old Straight Track: Its Mounds, Beacons, Moats, Sites, and Mark Stones. Methuen. Whittle, A. (1996). Europe in the Neolithic: The Creation of New Worlds. Cambridge University Press. Wilson, P. J. (1988). The Domestication of the Human Species. Yale University Press. Zubrow, E. B. W. (1994). Cognitive Archaeology Reconsidered. In The Ancient Mind: Elements of Cognitive Archaeology. Cambridge University Press. Zvelebil, M. (1986). Hunters in Transition: Mesolithic Societies of Temperate Eurasia and Their Transition to Farming. Cambridge University Press. Zvelebil, M., & Jordan, P. (1999). Hunter-Fisher-Gatherer Ritual Landscapes: Spatial Organisation, Social Structure and Ideology Among Hunter-Gatherers of Northern Europe and Western Siberia. Archaeopress.

durée : 00:36:59 - Les Nuits de France Culture - par : Philippe Garbit - Marguerite Duras, Roland Barthes, Henri Lefebvre et Vladimir Jankélévitch analysaient la question des loisirs en France en 1962. Une série de la collection "Recherche de la France" en huit volets, le huitième traitait du monde touristique et de ses coutumes, comme la photographie de vacances. - invités : Roland Barthes Ecrivain et critique littéraire français; Marguerite Duras Écrivaine, dramaturge et cinéaste (1914-1996); Vladimir Jankélévitch Philosophe (1903-1985)

Dans cet épisode, Guillaume rencontre Thierry Paquot, un philosophe de la ville qui a quitté depuis peu la périphérie parisienne pour la campagne normande. Enregistré alors qu'il était en plein processus d'écriture d'un livre, cet épisode est riche en réflexions et anecdotes. L'épisode s'amorce assez classiquement avec un retour sur l'évolution des relations entre ville et campagne, en écho à l'ouvrage de Lewis Mumford, traduit par Thierry et paru en août dernier (Histoire naturelle de l'urbanisation, Presses Universitaires de France). Autrefois des territoires complémentaires, l'arrivée du productivisme, de la mécanisation et la mondialisation viennent transformer radicalement leurs interdépendances de même que leurs paysages, au point où ville et campagne se confondent désormais complètement. La discussion se déplace tout naturellement vers la question des processus et transformations à l'œuvre — mondialisation, urbanisation, colonisation, mécanisation — et de leurs effets sur les espaces urbains : inversions des relations centre-périphérie, apparitions des mégalopoles, étalement, bidonvilisation, émergence d'enclaves résidentielles sécurisées, pour ne nommer que quelques-uns des phénomènes récents qui remodèlent notre terre urbaine. Si l'histoire de la ville intéresse notre invité, c'est surtout l'histoire des idées sur la ville qui prend une place centrale dans son travail. Thierry porte une attention très particulière à la biographie des auteur-es de même qu'à la filiation des idées, et fait tout un travail de géohistoire des œuvres et des idées. Qui discutait avec qui ? Quelle influence des auteur-es entre elles et eux ? L'épisode, en ce sens, apparaît comme un exercice de cartographie orale des réseaux d'idées sur la ville et l'urbain. Un travail utile, puisque comme le souligne Thierry : “On pense à plusieurs, même si on écrit seul”. La discussion aborde aussi la diversité des façons d'appréhender la ville, et notamment par le biais de ses représentations. Pour Thierry, le roman, la poésie, le cinéma, la photographie et les témoignages des habitants constituent une panoplie de médiums qui permettent d'éclairer différents angles aveugles de l'expérience urbaine. En somme, cet épisode est un tour d'horizon de l'urbain — définitions, formes d'urbanisation, épistémologies — sans une once d'aridité. Il se déploie autant dans les idées que sur le terrain, un peu à l'image du travail de Thierry. C'est un épisode où l'on s'intéresse autant aux paroles d'habitantes de bidonvilles qu'à la chicane entre Henri Lefebvre et Guy Debord, ou à la relation intellectuelle entre Ivan Illich et André Gorz. On en ressort avec un certain nombre de potins de philosophes, une envie de lire renouvelée et, somme toute, une idée plus claire du phénomène urbain planétaire ! 

The Discourse of Scholarly Communication (Lexington Books, 2023) examines the place and purpose of modern scholarship and its dialectical relationship with the ethos of Enlightenment. Patrick Gamsby argues that while Enlightenment/enlightenment is often used in the mottos of numerous academic institutions, its historical, social, and philosophical elements are largely obscured. Using a theoretical lens, Gamsby revisits the ideals of the Enlightenment alongside the often-contradictory issues of disciplinary boundaries, access to research, academic labor in the production of scholarship (author, peer reviewer, editor, and translator), the interrelationship of form and content (lectures, textbooks, books, and essays), and the stewardship of scholarship in academic libraries and archives. It is ultimately argued that for the betterment of the scholarly communication ecosystem and the betterment of society, anti-Enlightenment rules of scholarship such as ‘publish or perish' should be dispensed with in favor of the formulation of a New Enlightenment. Patrick Gamsby is the Scholarly Communication Librarian and Cross-Appointed to the Department of Sociology at Memorial University of Newfoundland. He previously worked in scholarly communications at Brandeis University and Duke University. Patrick holds a MLIS degree from the University of Western Ontario, a MES degree from York University, and a Ph.D. from Laurentian University. He is the author of two books - Henri Lefebvre, Boredom, and Everyday Life and The Discourse of Scholarly Communication - and he lives in St. John's, Newfoundland with his wife and two daughters. Dr. Michael LaMagna is the Information Literacy Program and Library Services Coordinator and Professor of Library Services at Delaware County Community College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Discourse of Scholarly Communication (Lexington Books, 2023) examines the place and purpose of modern scholarship and its dialectical relationship with the ethos of Enlightenment. Patrick Gamsby argues that while Enlightenment/enlightenment is often used in the mottos of numerous academic institutions, its historical, social, and philosophical elements are largely obscured. Using a theoretical lens, Gamsby revisits the ideals of the Enlightenment alongside the often-contradictory issues of disciplinary boundaries, access to research, academic labor in the production of scholarship (author, peer reviewer, editor, and translator), the interrelationship of form and content (lectures, textbooks, books, and essays), and the stewardship of scholarship in academic libraries and archives. It is ultimately argued that for the betterment of the scholarly communication ecosystem and the betterment of society, anti-Enlightenment rules of scholarship such as ‘publish or perish' should be dispensed with in favor of the formulation of a New Enlightenment. Patrick Gamsby is the Scholarly Communication Librarian and Cross-Appointed to the Department of Sociology at Memorial University of Newfoundland. He previously worked in scholarly communications at Brandeis University and Duke University. Patrick holds a MLIS degree from the University of Western Ontario, a MES degree from York University, and a Ph.D. from Laurentian University. He is the author of two books - Henri Lefebvre, Boredom, and Everyday Life and The Discourse of Scholarly Communication - and he lives in St. John's, Newfoundland with his wife and two daughters. Dr. Michael LaMagna is the Information Literacy Program and Library Services Coordinator and Professor of Library Services at Delaware County Community College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The Discourse of Scholarly Communication (Lexington Books, 2023) examines the place and purpose of modern scholarship and its dialectical relationship with the ethos of Enlightenment. Patrick Gamsby argues that while Enlightenment/enlightenment is often used in the mottos of numerous academic institutions, its historical, social, and philosophical elements are largely obscured. Using a theoretical lens, Gamsby revisits the ideals of the Enlightenment alongside the often-contradictory issues of disciplinary boundaries, access to research, academic labor in the production of scholarship (author, peer reviewer, editor, and translator), the interrelationship of form and content (lectures, textbooks, books, and essays), and the stewardship of scholarship in academic libraries and archives. It is ultimately argued that for the betterment of the scholarly communication ecosystem and the betterment of society, anti-Enlightenment rules of scholarship such as ‘publish or perish' should be dispensed with in favor of the formulation of a New Enlightenment. Patrick Gamsby is the Scholarly Communication Librarian and Cross-Appointed to the Department of Sociology at Memorial University of Newfoundland. He previously worked in scholarly communications at Brandeis University and Duke University. Patrick holds a MLIS degree from the University of Western Ontario, a MES degree from York University, and a Ph.D. from Laurentian University. He is the author of two books - Henri Lefebvre, Boredom, and Everyday Life and The Discourse of Scholarly Communication - and he lives in St. John's, Newfoundland with his wife and two daughters. Dr. Michael LaMagna is the Information Literacy Program and Library Services Coordinator and Professor of Library Services at Delaware County Community College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education

The Discourse of Scholarly Communication (Lexington Books, 2023) examines the place and purpose of modern scholarship and its dialectical relationship with the ethos of Enlightenment. Patrick Gamsby argues that while Enlightenment/enlightenment is often used in the mottos of numerous academic institutions, its historical, social, and philosophical elements are largely obscured. Using a theoretical lens, Gamsby revisits the ideals of the Enlightenment alongside the often-contradictory issues of disciplinary boundaries, access to research, academic labor in the production of scholarship (author, peer reviewer, editor, and translator), the interrelationship of form and content (lectures, textbooks, books, and essays), and the stewardship of scholarship in academic libraries and archives. It is ultimately argued that for the betterment of the scholarly communication ecosystem and the betterment of society, anti-Enlightenment rules of scholarship such as ‘publish or perish' should be dispensed with in favor of the formulation of a New Enlightenment. Patrick Gamsby is the Scholarly Communication Librarian and Cross-Appointed to the Department of Sociology at Memorial University of Newfoundland. He previously worked in scholarly communications at Brandeis University and Duke University. Patrick holds a MLIS degree from the University of Western Ontario, a MES degree from York University, and a Ph.D. from Laurentian University. He is the author of two books - Henri Lefebvre, Boredom, and Everyday Life and The Discourse of Scholarly Communication - and he lives in St. John's, Newfoundland with his wife and two daughters. Dr. Michael LaMagna is the Information Literacy Program and Library Services Coordinator and Professor of Library Services at Delaware County Community College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

The Discourse of Scholarly Communication (Lexington Books, 2023) examines the place and purpose of modern scholarship and its dialectical relationship with the ethos of Enlightenment. Patrick Gamsby argues that while Enlightenment/enlightenment is often used in the mottos of numerous academic institutions, its historical, social, and philosophical elements are largely obscured. Using a theoretical lens, Gamsby revisits the ideals of the Enlightenment alongside the often-contradictory issues of disciplinary boundaries, access to research, academic labor in the production of scholarship (author, peer reviewer, editor, and translator), the interrelationship of form and content (lectures, textbooks, books, and essays), and the stewardship of scholarship in academic libraries and archives. It is ultimately argued that for the betterment of the scholarly communication ecosystem and the betterment of society, anti-Enlightenment rules of scholarship such as ‘publish or perish' should be dispensed with in favor of the formulation of a New Enlightenment. Patrick Gamsby is the Scholarly Communication Librarian and Cross-Appointed to the Department of Sociology at Memorial University of Newfoundland. He previously worked in scholarly communications at Brandeis University and Duke University. Patrick holds a MLIS degree from the University of Western Ontario, a MES degree from York University, and a Ph.D. from Laurentian University. He is the author of two books - Henri Lefebvre, Boredom, and Everyday Life and The Discourse of Scholarly Communication - and he lives in St. John's, Newfoundland with his wife and two daughters. Dr. Michael LaMagna is the Information Literacy Program and Library Services Coordinator and Professor of Library Services at Delaware County Community College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Bahriye Kemal's ground-breaking new work serves as the first study of the literatures of Cyprus from a postcolonial and partition perspective. Writing Cyprus: Postcolonial and Partitioned Literatures of Place and Space (Routledge, 2021) explores Anglophone, Hellenophone and Turkophone writings from the 1920s to the present. Drawing on Yi-Fu Tuan's humanistic geography and Henri Lefebvre's Marxist philosophy, Kemal proposes a new interdisciplinary spatial model, at once theoretical and empirical, that demonstrates the power of space and place in postcolonial partition cases. The book shows the ways that place and space determine identity so as to create identifications; together these places, spaces and identifications are always in production. In analysing practices of writing, inventing, experiencing, reading, and construction, the book offers a distinct 'solidarity' that captures the 'truth of space' and place for the production of multiple-mutable Cypruses shaped by and for multiple-mutable selves, ending in a 'differential' Cyprus, Mediterranean, and world. Writing Cyprus offers not only a nuanced understanding of the actual and active production of colonialism, postcolonialism and partition that dismantles the dominant binary legacy of historical-political deadlock discourse, but a fruitful model for understanding other sites of conflict and division Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Bahriye Kemal's ground-breaking new work serves as the first study of the literatures of Cyprus from a postcolonial and partition perspective. Writing Cyprus: Postcolonial and Partitioned Literatures of Place and Space (Routledge, 2021) explores Anglophone, Hellenophone and Turkophone writings from the 1920s to the present. Drawing on Yi-Fu Tuan's humanistic geography and Henri Lefebvre's Marxist philosophy, Kemal proposes a new interdisciplinary spatial model, at once theoretical and empirical, that demonstrates the power of space and place in postcolonial partition cases. The book shows the ways that place and space determine identity so as to create identifications; together these places, spaces and identifications are always in production. In analysing practices of writing, inventing, experiencing, reading, and construction, the book offers a distinct 'solidarity' that captures the 'truth of space' and place for the production of multiple-mutable Cypruses shaped by and for multiple-mutable selves, ending in a 'differential' Cyprus, Mediterranean, and world. Writing Cyprus offers not only a nuanced understanding of the actual and active production of colonialism, postcolonialism and partition that dismantles the dominant binary legacy of historical-political deadlock discourse, but a fruitful model for understanding other sites of conflict and division Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Bahriye Kemal's ground-breaking new work serves as the first study of the literatures of Cyprus from a postcolonial and partition perspective. Writing Cyprus: Postcolonial and Partitioned Literatures of Place and Space (Routledge, 2021) explores Anglophone, Hellenophone and Turkophone writings from the 1920s to the present. Drawing on Yi-Fu Tuan's humanistic geography and Henri Lefebvre's Marxist philosophy, Kemal proposes a new interdisciplinary spatial model, at once theoretical and empirical, that demonstrates the power of space and place in postcolonial partition cases. The book shows the ways that place and space determine identity so as to create identifications; together these places, spaces and identifications are always in production. In analysing practices of writing, inventing, experiencing, reading, and construction, the book offers a distinct 'solidarity' that captures the 'truth of space' and place for the production of multiple-mutable Cypruses shaped by and for multiple-mutable selves, ending in a 'differential' Cyprus, Mediterranean, and world. Writing Cyprus offers not only a nuanced understanding of the actual and active production of colonialism, postcolonialism and partition that dismantles the dominant binary legacy of historical-political deadlock discourse, but a fruitful model for understanding other sites of conflict and division Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Bahriye Kemal's ground-breaking new work serves as the first study of the literatures of Cyprus from a postcolonial and partition perspective. Writing Cyprus: Postcolonial and Partitioned Literatures of Place and Space (Routledge, 2021) explores Anglophone, Hellenophone and Turkophone writings from the 1920s to the present. Drawing on Yi-Fu Tuan's humanistic geography and Henri Lefebvre's Marxist philosophy, Kemal proposes a new interdisciplinary spatial model, at once theoretical and empirical, that demonstrates the power of space and place in postcolonial partition cases. The book shows the ways that place and space determine identity so as to create identifications; together these places, spaces and identifications are always in production. In analysing practices of writing, inventing, experiencing, reading, and construction, the book offers a distinct 'solidarity' that captures the 'truth of space' and place for the production of multiple-mutable Cypruses shaped by and for multiple-mutable selves, ending in a 'differential' Cyprus, Mediterranean, and world. Writing Cyprus offers not only a nuanced understanding of the actual and active production of colonialism, postcolonialism and partition that dismantles the dominant binary legacy of historical-political deadlock discourse, but a fruitful model for understanding other sites of conflict and division Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/geography

Cities are melting pots for geopolitical ideology, cultural appropriation and expression of identity and beliefs.  As the world continues to globalise, but also polarise, the best parts of this integration are being put to the test and pushing some people to the margins.  In this episode we explore how cities can manage geopolitical conflicts, embrace the richness of cultures and ensure that all individuals and communities are represented and have equitable access.In response to a 2019 report on regenerative city-regions stating that we need a “‘mutually supportive symbiosis between the built, cultural and natural environments,” Katya Letunovsky refers to Henri Lefebvre's “trialetic of space” and Edward Soja's “thirdspace”, the intersection of the physical and the perceived or imagined, where policy and decisions happen.  Habidatum provides data to urban planners and investors, for example on how vacant buildings may be re-purposed, and powers the Mastercard Inclusive Growth Score™.  In Manhattan, evidence showed that once commercial rents reach a tipping point, “elite abandoned areas'' get created.  Time-sharing and friendly lease agreements can diversify commercial activities.Spatial equity is about equal access to jobs, services, nodes of activity and green spaces through transport, last-mile connectivity (the development of a bicycle network in Almaty, Kazakhstan being a case in point) and walkability.  Residents' and census data alone are not sufficient; data can also tell us about the temporary communities congregating at certain times and in particular places.Mary Pagano advocates for obliging corporations and the ultra-wealthy to take more responsibility and to tackle the hollowing out of the middle class.  She points out how women lead and live differently, and urges bringing in more of the 51% of the population into urban planning - life is about more than working and earning money.  She acknowledges her plans to build a sustainable new city in Morocco focused on humanity, health, happiness, quality of life,  urban agriculture and “non-invasive” technology for all will require education.Naresh Fernandes looks at how the informalisation of Bombay's (Mumbai's) economy, and politics, are thwarting social mobility and solidarity.  Historically successful, and needed, civil society and trade unions are finding it increasingly difficult to operate.  After the 1992-1993 communal riots, mohalla (neighbourhood) committees convened the worst-hit communities to discuss local problems, and how to resolve them.  This regular concerted effort - resulting in direct action - allowed them to ride through moments of heightened tension.  Hindi films in the 1950s and 60s portray Bombay's popular promenade, Marine Drive, rather than its mansions, but the incongruous gated communities sprouting in a city with little street crime and break-ins risk making it more dangerous, as they expel Jane Jacobs' “eyes on the street”.Nonetheless, Bombay's public transport and spaces allow familiarity across classes, which, in Naresh's view, can lead to empathy.  He and Mary speak about religions and nationalities cohabiting in New York City.  Following the 1999 police shooting of an African immigrant, Naresh witnessed individual protests by diverse communities, culminating in a collective march across Brooklyn Bridge.  In other words, our voices matter.  Citizen action can derail non-inclusive and marginalizing policy.  We still have the responsibility of being agents of change.Speakers:Katya Letunovsky, VP,  HabidatumMary Pagano, Board Member, Founder,  Hera City, HeraTV, FemFoundryNare

Hello Interactors,Our family got sucked into watching the Amazon Prime show, Clarkson's Farm. As a suburban Iowa boy who knew just enough farmers to know how hard it is, I found this show relatable. Apart from the entertaining allure of many staged reality shows, I realized it also highlights topics I investigate here on Interplace. Especially the interaction of the ‘rural' and ‘urban'…or lack thereof.Let me know in the comments if you've watched this show and what you think!I'll be taking a little break from writing in the coming weeks and will return in September.Until then, let's go!THE RURAL-URBAN DIVIDEMy son is a car guy. As such, he turned our family onto the pied piper of car guys, the British journalist turned media celebrity, Jeremy Clarkson. Clarkson is most known for his part in the shows ‘Top Gear' and ‘The Grand Tour' but has turned his attention to farming in recent years complete with his own show called "Clarkson's Farm." It's a simple yet complicated narrative that unfurls like the intricate English countryside hedgerows he commissioned for his farm in an episode we watched recently.The show chronicles Jeremy, a controversial climate change denying fossil fuel lover who expresses glee at polluting the natural environment, fulfilling a fantasy of becoming a farmer. A city boy naively embarking on a journey to become a farm boy. “How hard can this be?”, he insinuates, as his hired companion, Kaleb, a true farm boy, continually saves him from one disaster after another. Kaleb left the show earlier this year to help the Royal Agricultural University teach young people how to farm. A move that appears to be motivated by what Jeremy's farm manager called his ‘stupidest idea yet' – to raise pigs.Clarkson is comfortable with stupid ideas leading to disasters having been sued, fired, and defamed on countless occasions for making racist, misogynistic, and other statements in bad taste while joyfully wallowing in the attention, fame, and revenue that comes in the aftermath. An enigmatic media magnet with sociopathic tendencies.But I'm finding Clarkson's Farm oddly intriguing as a snapshot of the interaction of people and place. It weaves threads of common human endeavors, the natural environment, and the evolving rhythms of modern society. He, and the show's producers, intertwine personal, social, political, and environment struggles like meandering streams of the show's British rural landscape. Clarkson is a bit like the menacing disease spreading badger featured in another episode – a curious creature exploring and exploiting the winding lanes and hidden corners of a quiet countryside. Both a bane and a boon. A nuisance and a neighbor.His show also echoes intriguing themes explored among urban and rural geographers alike. They, like Clarkson, are playing with what it means to blend the rural with the urban. Jeremy's personal, social, and political journey within the pastoral tapestry of the Cotswold's north of Oxford is interwoven with the ecosystems found in the mosaic of fields, woodlands, and waterways that define its countryside. A strand of a larger tapestry that challenges, like Jeremy has, the notion of rural and urban in the growing urbanization of our planet.Planetary urbanization, as a thesis, has drawn scrutiny among some critical human geographers who call for a profound shift in the approach to understanding 'urban' and 'rural' spaces on a global scale. The origins of planetary urbanization can be traced back to Henri Lefebvre's pioneering hypothesis, first introduced in his 1970 work "The Urban Revolution" suggesting society has undergone complete urbanization. He subsequently furthered the notion that globalization has created a complete integration and interdependence of urban and non-urban spaces each with their own boundaries and borders.Jeremy's agricultural odyssey unfolds in this realm where these distinctions of ‘rural' and ‘urban' become pronounced as Jeremy's lack of comfort and knowledge of the ‘rural' is set against the younger Caleb's lack of experience and familiarity of the ‘urban'. The show attempts to script a blurring and harmonizing of the ‘urban' and the ‘rural' only to be foiled by the unrelenting rhythm of uncertainty and emergent behavior of human and non-human nature – including a global pandemic, local politics, and global and local economics.Clarkson's Farm, and the concept of planetary urbanization, is challenged by the spatial boundary urbanization has artificially created. It legitimizes Lefebvre's proposition that urbanization extends far beyond traditional urban centers, suggesting that rural spaces, as well as elements such as wilderness areas, oceans, the atmosphere, and even the planetary sub-surface, contribute to a global urban fabric. After all, anyone in the world can go to Jeremy's website to buy his food products and swag.But the show also raises questions about the specificity and boundaries of the 'urban' and underscores the need for a renewed urban theory that transcends the traditional confines of ‘us' and ‘them', ‘country' and ‘city', or ‘rural' and ‘urban'.  Scholars have raised concerns about the potential intellectual colonization and methodological biases inherent in theories of planetary urbanization. Particularly, the erasure of the 'rural' in socio-political power and in this theoretical framework has lead to 'rural' becoming a marginalized category.Indeed, Jeremy does his fair bit of this in the show where he frequently looks down his nose at Kaleb's lack of exposure to more ‘sophisticated' urban culture. Meanwhile, Kaleb is not shy about looking down his nose at Jeremy for his lack of exposure to more ‘sophisticated' rural culture. But ultimate, Jeremy – and by extension ‘urban' culture – wield the most power and influence over the world and people like Kaleb. Just as ‘urban' research and theories dominate academia, the media, and public culture.BLURRING BORDERSCritics contend planetary urbanization's exclusive focus on the urban sphere risks overshadowing the critical importance of rural spaces as nodes in global networks of resource provisioning. Post-colonial scholars highlight the dangers of perpetuating colonialist narratives by centering solely on urban processes and ignoring the rich histories and contributions of rural societies."Clarkson's Farm" and the planetary urbanization thesis, rooted in the ideas of Lefebvre, becomes like the bordered farm properties in the show, with blotches of natural occurring landscapes, networks of roads mingling with streams each flowing through the countryside. Just as theories of planetary urbanization seek to uncover the power dynamics and class struggles that shape our urban and rural landscapes while also perpetuating them, Jeremy's farming journey does the same.While planetary urbanization has led to many insights, its grounding in neo-Marxist political economy has also led to a certain reductionism. It neglects the rich interplay of life and agency found in species beyond humans in dimensions that extend beyond the surface of the earth into the atmosphere and below the ground. This exclusion stems from a perspective that normalizes and justifies the slow creep of urbanism that further entrenches artificial boundaries with the rural.This fusion offers yet another lens into Clarkson's farm that reveals the delicate balance between individual actions of Jeremy and other human actors, livestock and other animal actors, plants and other organism actors, the weather and other atmospheric actors, and the soil and other chemical actors. Each of which contributes and reacts to unfolding and unpredictable systemic behavior creating an intricate weave of complex adaptive systems.In our acceptance of reductionist thinking, we may inadvertently be overlooking the holistic potential of planetary thinking. Planetary thinking extends beyond human interactions on the Earth's surface, embracing verticality and encompassing not only terrestrial but also atmospheric and subterranean connections.The ideology more aligned with this perspective comes from the French philosopher's Deleuze and Latour. Their ideas offer a contrasting perspective that challenges the boundaries between human and non-human, urban and rural. Just as Lefebvre's thesis emphasizes the societal shift toward complete urbanization, the Deleuzian and Latourian lens blurs these distinctions entirely arguing everything is constantly changing and evolving and everything is connected, with no clear boundaries between humans and non-humans. In the interplay between these ideologies, we find a dance—a dance that mirrors the shifting, and often awkward, patterns of human-world interaction observed in "Clarkson's Farm."Geography and sociology researchers Nigel Clark and Bronislaw Szerszynski at Lancaster University introduce the term 'planetary multiplicity' to describe a planet capable of self-transformation influenced by the interactions of these blurred external forces. They argue that in the wake of unyielding forest fires, rising seas, the changing composition of soil, water, and atmosphere, and even altered adaptation of species, that the planet is being forced to transform itself in multiple ways – and in ways we human's may not be accustomed to or able to control. This reminds me of Jeremy, a man of wealth, privilege, and control, forced to deal with an unyielding multitude of natural and human-made external forces in ways he may not be accustomed to…or able to control.For me, “Clarkson's Farm" has transformed from a mere show about a controversial but entertaining car journalist into a thought-provoking journey — a proxy for some of the academic insights describing real-world complexities I find myself drawn to. It's a well filmed and produced journey that invites us to the beautiful but complex British countryside – invariably traversing beyond Jeremy's crooked farm rows and groomed hedges, to venture into realms that echo the timeless wonders of rural life.As we meander through the countryside of nosey neighbor narratives, local politics, and the drama of farm life – all in the comfort of a Land Rover or Lamborghini tractor – I'm reminded, in multiple interdependent ways, that despite the intricate pretense of a choreographed TV show, we exist individually as but a small part of a larger vibrant ecosystem that is ever-evolving, ever-surprising, and ever-enchanting. But collectively, especially as urban masses, we are no doubt a large part of an ever-increasing, ever-consuming, and ever-uncertain outsized geological and atmospheric force.Meanwhile, mainstream society, like Clarkson, remain fixed in reductionist thinking that continues to empower a few in the name of exploitation and marginalization of many. Kaleb left the show to be a dad and help teach young farmers while Jeremy attempts to continue to leverage his money, power, and influence in his fantasy of jumping over the imagined border of an urban elite to an everyday farmer. But maybe by exposing the world to rural life, Jeremy inadvertently demonstrated just how interconnected we all are with the world. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

Eric Newman and Kate Wolf speak to the author Kristin Ross about her recent book, The Politics and Poetics of Everyday Life, a collection of essays that examine how everyday life emerges as a vantage point for understanding and transforming our social world. The book represents three decades of Ross's writing about the everyday in French political, social, and cultural theory and history, including the commune form and current autonomous zones in France, the romance and memory of the May 1968 protests, and the present predicaments both faced and created by the Macron government. Featuring a long interview with the pioneering philosopher Henri Lefebvre, the book also invokes the work of Frederic Jameson, Jacques Ranciere, Emile Zola, and many others, to explore the intersections of political transformation and cultural representation as resources for thinking opposition and liberation in the present. Plus, artist Martine Syms, whose new exhibition Loser Back Home is currently on view at Spruth Magers in Los Angeles, returns to recommend Steffani Jemison's novel A Rock, A River, A Street.

Eric Newman and Kate Wolf speak to the author Kristin Ross about her recent book, The Politics and Poetics of Everyday Life, a collection of essays that examine how everyday life emerges as a vantage point for understanding and transforming our social world. The book represents three decades of Ross's writing about the everyday in French political, social, and cultural theory and history, including the commune form and current autonomous zones in France, the romance and memory of the May 1968 protests, and the present predicaments both faced and created by the Macron government. Featuring a long interview with the pioneering philosopher Henri Lefebvre, the book also invokes the work of Frederic Jameson, Jacques Ranciere, Emile Zola, and many others, to explore the intersections of political transformation and cultural representation as resources for thinking opposition and liberation in the present. Plus, artist Martine Syms, whose new exhibition Loser Back Home is currently on view at Spruth Magers in Los Angeles, returns to recommend Steffani Jemison's novel A Rock, A River, A Street.

Un Día Como Hoy 16 de Junio: Acontece: 1816: Lord Byron escribe Fantasmagoriana a sus cuatro invitados a Villa Diodati, Percy Shelley, Mary Shelley, Claire Clairmont y John Polidori, e inspira su reto a que cada invitado escribiera una historia de miedo, que culmina con el escrito de Mary Shelley Frankenstein, John Polidori escribiendo el cuento El vampiro y Byron su poema Darkness. 1904: en Dublín, el escritor irlandés James Joyce comienza su relación con Nora Barnacle. Años después utilizará esta fecha como la del día en que transcurre su novela más conocida, Ulises. 1960: se estrena la película Psicosis, de Alfred Hitchcock. Nace: 1863: Arturo Michelena, pintor venezolano (f. 1898). 1901: Henri Lefebvre, filósofo francés (f. 1991). Fallece: 1986: Maurice Duruflé, organista y compositor francés (n. 1902). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

In Mallparks: Baseball Stadiums and the Culture of Consumption (Cornell UP, 2023), Michael T. Friedman observes that as cathedrals represented power relations in medieval towns and skyscrapers epitomized those within industrial cities, sports stadiums exemplify urban American consumption at the turn of the twenty-first century. Grounded in Henri Lefebvre and George Ritzer's spatial theories in their analyses of consumption spaces, Mallparks examines how the designers of this generation of baseball stadiums follow the principles of theme park and shopping mall design to create highly effective and efficient consumption sites. In his exploration of these contemporary cathedrals of sport and consumption, Friedman discusses the history of stadium design, the amenities and aesthetics of stadium spaces, and the intentions and conceptions of architects, team officials, and civic leaders. He grounds his analysis in case studies of Oriole Park at Camden Yards in Baltimore; Fenway Park in Boston; Dodger Stadium in Los Angeles; Nationals Park in Washington, DC; Target Field in Minneapolis; and Truist Park in Atlanta. Emilio J. Weber is a master's student in the Physical Cultural Studies research group at the University of Maryland at College Park. He can be reached at ejweber@umd.edu or on twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Mallparks: Baseball Stadiums and the Culture of Consumption (Cornell UP, 2023), Michael T. Friedman observes that as cathedrals represented power relations in medieval towns and skyscrapers epitomized those within industrial cities, sports stadiums exemplify urban American consumption at the turn of the twenty-first century. Grounded in Henri Lefebvre and George Ritzer's spatial theories in their analyses of consumption spaces, Mallparks examines how the designers of this generation of baseball stadiums follow the principles of theme park and shopping mall design to create highly effective and efficient consumption sites. In his exploration of these contemporary cathedrals of sport and consumption, Friedman discusses the history of stadium design, the amenities and aesthetics of stadium spaces, and the intentions and conceptions of architects, team officials, and civic leaders. He grounds his analysis in case studies of Oriole Park at Camden Yards in Baltimore; Fenway Park in Boston; Dodger Stadium in Los Angeles; Nationals Park in Washington, DC; Target Field in Minneapolis; and Truist Park in Atlanta. Emilio J. Weber is a master's student in the Physical Cultural Studies research group at the University of Maryland at College Park. He can be reached at ejweber@umd.edu or on twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

In Mallparks: Baseball Stadiums and the Culture of Consumption (Cornell UP, 2023), Michael T. Friedman observes that as cathedrals represented power relations in medieval towns and skyscrapers epitomized those within industrial cities, sports stadiums exemplify urban American consumption at the turn of the twenty-first century. Grounded in Henri Lefebvre and George Ritzer's spatial theories in their analyses of consumption spaces, Mallparks examines how the designers of this generation of baseball stadiums follow the principles of theme park and shopping mall design to create highly effective and efficient consumption sites. In his exploration of these contemporary cathedrals of sport and consumption, Friedman discusses the history of stadium design, the amenities and aesthetics of stadium spaces, and the intentions and conceptions of architects, team officials, and civic leaders. He grounds his analysis in case studies of Oriole Park at Camden Yards in Baltimore; Fenway Park in Boston; Dodger Stadium in Los Angeles; Nationals Park in Washington, DC; Target Field in Minneapolis; and Truist Park in Atlanta. Emilio J. Weber is a master's student in the Physical Cultural Studies research group at the University of Maryland at College Park. He can be reached at ejweber@umd.edu or on twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

In Mallparks: Baseball Stadiums and the Culture of Consumption (Cornell UP, 2023), Michael T. Friedman observes that as cathedrals represented power relations in medieval towns and skyscrapers epitomized those within industrial cities, sports stadiums exemplify urban American consumption at the turn of the twenty-first century. Grounded in Henri Lefebvre and George Ritzer's spatial theories in their analyses of consumption spaces, Mallparks examines how the designers of this generation of baseball stadiums follow the principles of theme park and shopping mall design to create highly effective and efficient consumption sites. In his exploration of these contemporary cathedrals of sport and consumption, Friedman discusses the history of stadium design, the amenities and aesthetics of stadium spaces, and the intentions and conceptions of architects, team officials, and civic leaders. He grounds his analysis in case studies of Oriole Park at Camden Yards in Baltimore; Fenway Park in Boston; Dodger Stadium in Los Angeles; Nationals Park in Washington, DC; Target Field in Minneapolis; and Truist Park in Atlanta. Emilio J. Weber is a master's student in the Physical Cultural Studies research group at the University of Maryland at College Park. He can be reached at ejweber@umd.edu or on twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In Mallparks: Baseball Stadiums and the Culture of Consumption (Cornell UP, 2023), Michael T. Friedman observes that as cathedrals represented power relations in medieval towns and skyscrapers epitomized those within industrial cities, sports stadiums exemplify urban American consumption at the turn of the twenty-first century. Grounded in Henri Lefebvre and George Ritzer's spatial theories in their analyses of consumption spaces, Mallparks examines how the designers of this generation of baseball stadiums follow the principles of theme park and shopping mall design to create highly effective and efficient consumption sites. In his exploration of these contemporary cathedrals of sport and consumption, Friedman discusses the history of stadium design, the amenities and aesthetics of stadium spaces, and the intentions and conceptions of architects, team officials, and civic leaders. He grounds his analysis in case studies of Oriole Park at Camden Yards in Baltimore; Fenway Park in Boston; Dodger Stadium in Los Angeles; Nationals Park in Washington, DC; Target Field in Minneapolis; and Truist Park in Atlanta. Emilio J. Weber is a master's student in the Physical Cultural Studies research group at the University of Maryland at College Park. He can be reached at ejweber@umd.edu or on twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Mallparks: Baseball Stadiums and the Culture of Consumption (Cornell UP, 2023), Michael T. Friedman observes that as cathedrals represented power relations in medieval towns and skyscrapers epitomized those within industrial cities, sports stadiums exemplify urban American consumption at the turn of the twenty-first century. Grounded in Henri Lefebvre and George Ritzer's spatial theories in their analyses of consumption spaces, Mallparks examines how the designers of this generation of baseball stadiums follow the principles of theme park and shopping mall design to create highly effective and efficient consumption sites. In his exploration of these contemporary cathedrals of sport and consumption, Friedman discusses the history of stadium design, the amenities and aesthetics of stadium spaces, and the intentions and conceptions of architects, team officials, and civic leaders. He grounds his analysis in case studies of Oriole Park at Camden Yards in Baltimore; Fenway Park in Boston; Dodger Stadium in Los Angeles; Nationals Park in Washington, DC; Target Field in Minneapolis; and Truist Park in Atlanta. Emilio J. Weber is a master's student in the Physical Cultural Studies research group at the University of Maryland at College Park. He can be reached at ejweber@umd.edu or on twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/geography

In Mallparks: Baseball Stadiums and the Culture of Consumption (Cornell UP, 2023), Michael T. Friedman observes that as cathedrals represented power relations in medieval towns and skyscrapers epitomized those within industrial cities, sports stadiums exemplify urban American consumption at the turn of the twenty-first century. Grounded in Henri Lefebvre and George Ritzer's spatial theories in their analyses of consumption spaces, Mallparks examines how the designers of this generation of baseball stadiums follow the principles of theme park and shopping mall design to create highly effective and efficient consumption sites. In his exploration of these contemporary cathedrals of sport and consumption, Friedman discusses the history of stadium design, the amenities and aesthetics of stadium spaces, and the intentions and conceptions of architects, team officials, and civic leaders. He grounds his analysis in case studies of Oriole Park at Camden Yards in Baltimore; Fenway Park in Boston; Dodger Stadium in Los Angeles; Nationals Park in Washington, DC; Target Field in Minneapolis; and Truist Park in Atlanta. Emilio J. Weber is a master's student in the Physical Cultural Studies research group at the University of Maryland at College Park. He can be reached at ejweber@umd.edu or on twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Mallparks: Baseball Stadiums and the Culture of Consumption (Cornell UP, 2023), Michael T. Friedman observes that as cathedrals represented power relations in medieval towns and skyscrapers epitomized those within industrial cities, sports stadiums exemplify urban American consumption at the turn of the twenty-first century. Grounded in Henri Lefebvre and George Ritzer's spatial theories in their analyses of consumption spaces, Mallparks examines how the designers of this generation of baseball stadiums follow the principles of theme park and shopping mall design to create highly effective and efficient consumption sites. In his exploration of these contemporary cathedrals of sport and consumption, Friedman discusses the history of stadium design, the amenities and aesthetics of stadium spaces, and the intentions and conceptions of architects, team officials, and civic leaders. He grounds his analysis in case studies of Oriole Park at Camden Yards in Baltimore; Fenway Park in Boston; Dodger Stadium in Los Angeles; Nationals Park in Washington, DC; Target Field in Minneapolis; and Truist Park in Atlanta. Emilio J. Weber is a master's student in the Physical Cultural Studies research group at the University of Maryland at College Park. He can be reached at ejweber@umd.edu or on twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Alma Espinosa, Germán Martínez y Liliana Calatayud nos comparten una nueva emisión de Oye, lee y dile, el espacio radiofónico de la Editorial UV. Hoy disfrutaremos de una charla con Dora Sánchez Hidalgo, quien nos hablará del libro: Uso y valor de Henri Lefebvre.

In this episode of the podcast, recorded live at BISR Central as part of our Occasional Evenings series, writer and critic Lucy Ives joins BISR's Rebecca Ariel Porte, Lauren K. Wolfe, and special guest Sonia Werner for a reading and discussion of Lucy's latest novel Life Is Everywhere (Graywolf Press, 2022)—an enormously capacious and, perhaps counterintuitively, characteristically “weak” novel. Starting with the question, implicit in Life Is Everywhere, as to what the novel can possibly contain (bodies and feelings? institutions and systems? historical events? speculative counterfactuals? emails and utility bills?), their conversation touches on genre—is it an organizing principle or an awkward limit?—how certain failures in writing are inadvertent strengths, the pleasures of “difficult” novels, unpromising premises, “strong” versus “weak” theory, thinking versus feeling protagonists, the disruptive power of affect, the kinds of knowledge that novels produce, the strangeness of the nearest things, Mrs. Dalloway, Henri Lefebvre, time travel, Aristotle's poetics as high comedy, and much more.

Nenhum teórico chega perto da influência de Jane Jacobs na disciplina dos estudos urbanos. Ela é a única a se aproximar dos gigantes da geografia e da filosofia urbana, David Harvey e Henri Lefebvre. Para compreender a relevância do trabalho de Jane Jacobs para o urbanismo e aprofundar seus principais conceitos, recebemos Bianca Tavolari e Vinicius Netto. Apoie o Caos Planejado. Confira os links do episódio no site. Episódio produzido com o apoio do Responsive Cities Institute.

In this episode Nick is joined by Tom Comitta, aficionado of citational fiction and author of The Nature Book, newly released and available now from Coffee House Press. Tom selected Henri Lefebvre's The Missing Pieces as the work of focus for today's discussion, so listen in as we talk through the history of authors remixing words, Lefebvre's ability to invoke emotion with lists, and the apparent popularity of the destruction of art in antiquity. Post-script: The remix artist referenced at 43:20 is People Like Us.

In episode four of Faculty Spotlight, hosts Mark and Lauren interview Andy Battle, BISR faculty and urban historian. The three discuss: why cities are so radicalizing--and alienating; the deep connection between capitalism and urbanization; how "private welfare states" drive up the cost up the cost (sometimes prohibitively) of building infrastructure; what Henri Lefebvre means by the "Right to the City"; Eric Adams (and his parallels with Trump); dance culture (and "dis-alienation"); and Cop City, the "outside agitator," and why "policing is what's left when you can't or won't...address the problems" that fundamentally beset us.

Based on critical theory and ethnographic research, Gediminas Lesutis' book The Politics of Precarity: Spaces of Extractivism, Violence, and Suffering (Routledge, 2021) explores how intensifying geographies of extractive capitalism shape human lives and transformative politics in marginal areas of the global economy. Engaging the work of Judith Butler, Henri Lefebvre, and Jacques Rancière with ethnographic research on social and political effects of mining-induced dispossession in Mozambique, in the book Lesutis theorises how precarity unfolds as a spatially constituted condition of everyday life given over to the violence of capital. Going beyond labour relations, or governance of life in liberal democracies, that are typically explored in the literature on precarity, the book shows how dispossessed people are subjected to structural, symbolic, and direct modalities of violence; this simultaneously constitutes their suffering and ceaseless desire, however implausible, to be included into abstract space of extractivism.  As a result, despite the multifarious violence that it engenders, extractive capital accumulation is sustained even in the margins, historically excluded from contingently lived imaginaries of a "good life" promised by capitalism. Presenting this theorisation of precarity as a framework on, and a critique of, the contemporary politics of (un)liveability, the book speaks to key debates about precarity, dispossession, resistance, extractivism, and development in several disciplines, especially political geography, IPE, global politics, and critical theory. It will also be of interest to scholars in development studies, critical political economy, and African politics. Shraddha Chatterjee is a doctoral candidate at York University, Toronto, and author of Queer Politics in India: Towards Sexual Subaltern Subjects (Routledge, 2018). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Based on critical theory and ethnographic research, Gediminas Lesutis' book The Politics of Precarity: Spaces of Extractivism, Violence, and Suffering (Routledge, 2021) explores how intensifying geographies of extractive capitalism shape human lives and transformative politics in marginal areas of the global economy. Engaging the work of Judith Butler, Henri Lefebvre, and Jacques Rancière with ethnographic research on social and political effects of mining-induced dispossession in Mozambique, in the book Lesutis theorises how precarity unfolds as a spatially constituted condition of everyday life given over to the violence of capital. Going beyond labour relations, or governance of life in liberal democracies, that are typically explored in the literature on precarity, the book shows how dispossessed people are subjected to structural, symbolic, and direct modalities of violence; this simultaneously constitutes their suffering and ceaseless desire, however implausible, to be included into abstract space of extractivism.  As a result, despite the multifarious violence that it engenders, extractive capital accumulation is sustained even in the margins, historically excluded from contingently lived imaginaries of a "good life" promised by capitalism. Presenting this theorisation of precarity as a framework on, and a critique of, the contemporary politics of (un)liveability, the book speaks to key debates about precarity, dispossession, resistance, extractivism, and development in several disciplines, especially political geography, IPE, global politics, and critical theory. It will also be of interest to scholars in development studies, critical political economy, and African politics. Shraddha Chatterjee is a doctoral candidate at York University, Toronto, and author of Queer Politics in India: Towards Sexual Subaltern Subjects (Routledge, 2018). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Based on critical theory and ethnographic research, Gediminas Lesutis' book The Politics of Precarity: Spaces of Extractivism, Violence, and Suffering (Routledge, 2021) explores how intensifying geographies of extractive capitalism shape human lives and transformative politics in marginal areas of the global economy. Engaging the work of Judith Butler, Henri Lefebvre, and Jacques Rancière with ethnographic research on social and political effects of mining-induced dispossession in Mozambique, in the book Lesutis theorises how precarity unfolds as a spatially constituted condition of everyday life given over to the violence of capital. Going beyond labour relations, or governance of life in liberal democracies, that are typically explored in the literature on precarity, the book shows how dispossessed people are subjected to structural, symbolic, and direct modalities of violence; this simultaneously constitutes their suffering and ceaseless desire, however implausible, to be included into abstract space of extractivism.  As a result, despite the multifarious violence that it engenders, extractive capital accumulation is sustained even in the margins, historically excluded from contingently lived imaginaries of a "good life" promised by capitalism. Presenting this theorisation of precarity as a framework on, and a critique of, the contemporary politics of (un)liveability, the book speaks to key debates about precarity, dispossession, resistance, extractivism, and development in several disciplines, especially political geography, IPE, global politics, and critical theory. It will also be of interest to scholars in development studies, critical political economy, and African politics. Shraddha Chatterjee is a doctoral candidate at York University, Toronto, and author of Queer Politics in India: Towards Sexual Subaltern Subjects (Routledge, 2018). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Based on critical theory and ethnographic research, Gediminas Lesutis' book The Politics of Precarity: Spaces of Extractivism, Violence, and Suffering (Routledge, 2021) explores how intensifying geographies of extractive capitalism shape human lives and transformative politics in marginal areas of the global economy. Engaging the work of Judith Butler, Henri Lefebvre, and Jacques Rancière with ethnographic research on social and political effects of mining-induced dispossession in Mozambique, in the book Lesutis theorises how precarity unfolds as a spatially constituted condition of everyday life given over to the violence of capital. Going beyond labour relations, or governance of life in liberal democracies, that are typically explored in the literature on precarity, the book shows how dispossessed people are subjected to structural, symbolic, and direct modalities of violence; this simultaneously constitutes their suffering and ceaseless desire, however implausible, to be included into abstract space of extractivism.  As a result, despite the multifarious violence that it engenders, extractive capital accumulation is sustained even in the margins, historically excluded from contingently lived imaginaries of a "good life" promised by capitalism. Presenting this theorisation of precarity as a framework on, and a critique of, the contemporary politics of (un)liveability, the book speaks to key debates about precarity, dispossession, resistance, extractivism, and development in several disciplines, especially political geography, IPE, global politics, and critical theory. It will also be of interest to scholars in development studies, critical political economy, and African politics. Shraddha Chatterjee is a doctoral candidate at York University, Toronto, and author of Queer Politics in India: Towards Sexual Subaltern Subjects (Routledge, 2018). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Based on critical theory and ethnographic research, Gediminas Lesutis' book The Politics of Precarity: Spaces of Extractivism, Violence, and Suffering (Routledge, 2021) explores how intensifying geographies of extractive capitalism shape human lives and transformative politics in marginal areas of the global economy. Engaging the work of Judith Butler, Henri Lefebvre, and Jacques Rancière with ethnographic research on social and political effects of mining-induced dispossession in Mozambique, in the book Lesutis theorises how precarity unfolds as a spatially constituted condition of everyday life given over to the violence of capital. Going beyond labour relations, or governance of life in liberal democracies, that are typically explored in the literature on precarity, the book shows how dispossessed people are subjected to structural, symbolic, and direct modalities of violence; this simultaneously constitutes their suffering and ceaseless desire, however implausible, to be included into abstract space of extractivism.  As a result, despite the multifarious violence that it engenders, extractive capital accumulation is sustained even in the margins, historically excluded from contingently lived imaginaries of a "good life" promised by capitalism. Presenting this theorisation of precarity as a framework on, and a critique of, the contemporary politics of (un)liveability, the book speaks to key debates about precarity, dispossession, resistance, extractivism, and development in several disciplines, especially political geography, IPE, global politics, and critical theory. It will also be of interest to scholars in development studies, critical political economy, and African politics. Shraddha Chatterjee is a doctoral candidate at York University, Toronto, and author of Queer Politics in India: Towards Sexual Subaltern Subjects (Routledge, 2018). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Based on critical theory and ethnographic research, Gediminas Lesutis' book The Politics of Precarity: Spaces of Extractivism, Violence, and Suffering (Routledge, 2021) explores how intensifying geographies of extractive capitalism shape human lives and transformative politics in marginal areas of the global economy. Engaging the work of Judith Butler, Henri Lefebvre, and Jacques Rancière with ethnographic research on social and political effects of mining-induced dispossession in Mozambique, in the book Lesutis theorises how precarity unfolds as a spatially constituted condition of everyday life given over to the violence of capital. Going beyond labour relations, or governance of life in liberal democracies, that are typically explored in the literature on precarity, the book shows how dispossessed people are subjected to structural, symbolic, and direct modalities of violence; this simultaneously constitutes their suffering and ceaseless desire, however implausible, to be included into abstract space of extractivism.  As a result, despite the multifarious violence that it engenders, extractive capital accumulation is sustained even in the margins, historically excluded from contingently lived imaginaries of a "good life" promised by capitalism. Presenting this theorisation of precarity as a framework on, and a critique of, the contemporary politics of (un)liveability, the book speaks to key debates about precarity, dispossession, resistance, extractivism, and development in several disciplines, especially political geography, IPE, global politics, and critical theory. It will also be of interest to scholars in development studies, critical political economy, and African politics. Shraddha Chatterjee is a doctoral candidate at York University, Toronto, and author of Queer Politics in India: Towards Sexual Subaltern Subjects (Routledge, 2018). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/geography

Architektin Niloufar Tajeri im Gespräch mit Friederike Landau-DonnellyÜber das Thema Architektur und Intersektionalität spricht Kulturgeografin Friederike Landau-Donnelly mit der Architektin Niloufar Tajeri. Niloufar war bis März 2022 wissenschaftliche Mitarbeiterin am Institut für Geschichte und Theorie der Architektur und Stadt (GTAS) der TU Braunschweig und ist Mitbegründerin der Initiative Hermannplatz. Das Gespräch zwischen Niloufar und Friederike fand im Januar 2022 statt.Weitere Informationen zu Niloufar Tajeri und den Themen der Episode:Niloufar TajeriNiloufar Tajeri und Jorinde Schulz, Neuköllner Null-Toleranz und sozialräumlicher Rassismus – Wie mit der Debatte um die »Clankriminalität« (Verdrängungs)-Politik gemacht wird (www.rosalux.de)Henri Lefebvre und das Recht auf StadtHenri Lefebvre, Das Recht auf Stadt (Buch)Henri Lefebvre und das Recht auf Stadt (dérive N° 60)Stadtsoziologie von Henri Lefebvre – Die beschädigte urbane Gesellschaft (taz.de)Claudia Jones und IntersektionalitätThe Forgotten Legacy of Claudia Jones: a Black Communist Radical Feminist (www.versobooks.com)Claudia Jones: Foremother of World Revolution (The Journal of Intersectionality, Vol. 3, No. 1, Summer 2019)Intersektionalität: »E.T. nach Hause telefonieren?« (www.bpb.de)Materialsammlung zum Thema Intersektionalität (www.gwi-boell.de)Initiative Hermannplatzinitiativehermannplatz.noblogs.orgKaufhausumbau am Hermannplatz – Ohne Beteiligung geplant (taz.de)Die TV-Doku Frauen bauen ist noch bis zum 24. September 2022 in der 3sat-Mediathek verfügbar.Stadt.Raum.Frau* ist ein Podcast von argon.labProduzentin: Johanna BehreAutorin und Moderatorin: Friederike Landau-DonnellyRedaktion und Produktion: Sabine ReicheltSchnitt, Sounddesign & Musik: Joscha GrunewaldStudio: We Are Producers, BerlinGrafik: Konstantin Gramalla Hosted on Acast. See acast.com/privacy for more information.

Our guest for the second half of Locust Radio episode 15 is our very own Alexander Billet. Alex is a writer, artist, and editor at Locust Review. They join us in the virtual Locust studio to discuss the editorial for Locust Review 8, “The Utopia Principle,” which Alex took the lead on writing. This is a compilation of excerpts from the episode. To hear the full episode join the Locust Review Patreon or subscribe on our website. We discuss, in this episode: the materiality of utopia, love and anger, the revelatory aspects of apocalypse, an overgrowth of discourse without practice, the importance of demediating cultural and political strategies, interrupting capitalist disbelief, the primitive accumulation of a utopian imagination, the sublime differentiated totality of a future socialism, expressing the struggle in our art and writing, the social-existential reality of living without a reward in contemporary capitalism, Henri Lefebvre's heterotopia, experimenting with utopia in art and left organizing, and how come nobody who is dead wants to work anymore? Our musical break was “Demonstration” by Omnia Sol. Our reading was Alexander Billet's “Republic of Dreams” from Locust Review 8. The opening sketch was based on a story from the Stink Ape Resurrection Primer. Locust Radio is produced by Omnia Sol and Alexander Billet. It is hosted by Tish Turl, Laura Fair-Schulz, and Adam Turl. Music by Omnia Sol.

durée : 01:09:59 - Les Nuits de France Culture - Par Colette Garrigues, Harold Portnoy et Robert Valette - Avec Roland Barthes, Jean Duvignaud, Henri Lefebvre, Madeleine Delpierre, Nadine Liner-Puissesseau, Francis Dumoulin, le coiffeur Alexandre, Pierre Cardin et Emmanuelle Khanh - Extrait des "Essais de morale" de Spencer - Lectures Pierre Olivier - Réalisation Bernard Saxel

durée : 00:36:59 - Les Nuits de France Culture - Marguerite Duras, Roland Barthes, Henri Lefebvre et Vladimir Jankélévitch analysaient la question des loisirs en France en 1962. Une série de la collection "Recherche de la France" en huit volets, le huitième traitait du monde touristique et de ses coutumes, comme la photographie de vacances. En 1962, France III Nationale proposait un magazine en huit épisodes consacré aux loisirs des Français. Des personnalités, sociologues, écrivains, philosophes répondaient aux questions d'Henri Raymond et Harold Portnoy. Le 14 décembre dans le huitième volet il était question de la photographie touristique, des vacances, "loisir obligatoire, donc source de déception ?" selon Marguerite Duras, Roland Barthes, Henri Lefebvre et Vladimir Jankélévitch.  * Par Henri Raymond et Harold Portnoy  Réalisation : Jacques-Adrien Blondeau Recherche de la France - Les Loisirs : Le Monde touristique (1ère diffusion : 14/12/1962 France III Nationale) Indexation web : Documentation sonore de Radio France Archive Ina-Radio France

Summary:In this episode, our host Adrian Ellis speaks with Vilma Jurkute, Executive Director of Alserkal in Dubai. They discuss how Alserkal's commitment to facilitating open dialogue, mapping geographies of practice, and building a repository of knowledge for future generations have catalysed the development of a cultural ecosystem that goes beyond physical infrastructure. They also chat about the vital role cultural institutions play in social transformation and fostering a sense of place and belonging.  After, Adrian is joined by fellow host Stephanie Fortunato to discuss key takeaways. They reflect on how cultural institutions are the heart of a city's software for creativity, innovation, and renewal – as illustrated by Alserkal.References:  Alserkal is a socially responsible and forward-thinking arts and culture enterprise based in Dubai. Alserkal Avenue, administered by Alserkal, is home to over 70 contemporary art galleries, visual and performing arts organisations, designers, home-grown and entrepreneur-led business and community spaces. Alserkal Arts Foundation was formalised in 2019. It is informed by the three pillars of artistic production, scholarship and research. Alserkal Residency allows practitioners across different disciplines to reconnect with their practice. It also supports alternative research, scholarship, and practice that produces new forms of knowledge. Common Room is a centre for cultural practitioners and academic researchers. Alserkal Advisory was formalised in 2021 and seeks to help develop cultural production and establish spaces for the region. Henri Lefebvre was a French philosopher and sociologist, best known for introducing the concepts of the right to the city and the production of social space Bio:Vilma Jurkute is the Executive Director of Alserkal, overseeing Alserkal Avenue, Alserkal Arts Foundation, and Alserkal Advisory. Her professional and academic experience is centered on placemaking and the development of sustainable, community-centric creative economies with both global and regional impact.

Talk Art speaks to Mark Neville, the award winning British photographer. Since 2015, Neville (born 1966) has been documenting life in Ukraine, with subjects ranging from holidaymakers on the beaches of Odessa and the Roma communities on the Hungarian border to those internally displaced by the war in Eastern Ukraine. Through his community-based projects, Neville explores the social function of the medium, using still and moving images as well as photo books. His projects have consistently looked to subvert the traditional, passive role of social documentary practice to activate social debate and change beyond the boundaries of cultural institutions.Employing his activist strategy of a targeted book dissemination, Neville is committed to making a direct impact upon the war in Ukraine. He will distribute copies of this volume free to policy makers, opinion makers, members of parliament both in Ukraine and Russia, members of the international community and those involved directly in the Minsk Agreements. He means to reignite awareness about the war, galvanize the peace talks and attempt to halt the daily bombing and casualties in Eastern Ukraine which have been occurring for four years now. Neville's images are accompanied by writings from both Russian and Ukrainian novelists, as well as texts from policy makers and the international community, to suggest how to end the conflict.Shortlisted for Deutsche Börse Photography Foundation Prize 2020, Mark Neville works at the intersection of art and documentary, investigating the social function of photography. He makes lens-based works which have been realised and disseminated in a large array of contexts, as both still and moving image pieces, slideshows, films, and giveaway books. His work seeks to find new ways to empower the position of its subject over that of the author. Often working with closely knit communities, in a collaborative process intended to be of direct, practical benefit to the subject, his photographic projects to date have frequently made the towns he portrays the primary audience for the work. Points of reference for his practice might include the ideas of Henri Lefebvre, or the art works of Martha Rosler, John Berger, or Hans Haacke."What changes people's minds about a conflict is a poem, a song, or a photograph. It's people's feelings that need to be changed. To my mind, that's the role of the artist." Mark Neville speaking to The Guardian, February 2022.To contact Mark, follow @MarkNevilleStudio on Instagram and his official website is: http://www.markneville.com/If you are able, please help by supporting @SaveChildrenUK Emergency Fund today or text CRISIS to 70008 to donate £5. Your donation will allow their teams to help children in crisis.

Desde hace 50 años autores como Henri Lefebvre plantearon la "muerte de la ciudad". Distintos modelos urbanísticos pueden favorecer distintas ideologías y modos de vida (y viceversa): ¿qué modelo está ganando y por qué? ¿Es la huida de las clases medias hacia urbanizaciones en la periferia un episodio más de romanticismo neorrural? ¿Se puede reivindicar el“derecho a la ciudad” en el siglo XXI? ¿Ha dejado de tener sentido la distinción entre lo urbano y lo rural? ¿Es cada vez más difícil encontrarse con el diferente en las ciudades? ¿Cómo afecta esto a la posibilidad de construir sociedades democráticas? Nos acompañaron dos autores de títulos fundamentales para comprender este fenómeno: el filósofo Ramón del Castillo con'El jardín de los delirios' y el periodista Jorge Dioni, con 'La España de las piscinas'.

Trots mindfulnesstider så ser man inga Instagramkonton eller coffeetableböcker om konsten att rengöra en toalett. Författaren Elin Grelsson förklarar varför och slår ett slag för städandet. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes första gången i november 2018.Pappersinsamlingen i köket väller över. Den har gjort det ett bra tag nu, det är säkert några veckor sedan som lådan för kasserade dagstidningar blev översvämmad. Nu börjar det alltmer likna en utmaning; hur länge kan jag fortsätta bygga på tornet av papperstidningar innan de välter ut i en hög på golvet. Att i stället samla ihop dem och gå till pappersinsamlingen skulle ta max en kvart av mitt liv. Ändå gör jag det inte, flyr in i essäskrivandet och tänker ”sedan” för att nästa gång jag passerar köket återigen titta på tidningstornet och suckande konstatera att jag verkligen måste göra någonting åt den där högen. Vad är det som får vuxna människor att bete sig på det sättet? Ett svar, som jag själv sällar mig till, är motståndet mot det repetitiva. När jag kommer tillbaka från pappersinsamlingen med en tom låda kommer den inom några veckor vara fylld igen. Lika uttråkad blir jag av att tvätta håret, det må vara rent nu men inom några dagar måste ritualen upprepas. Inför tandborstning blir jag som ett barn, kan skjuta upp bestyren inför natten i timmar bara för att slippa göra någonting som jag vet måste upprepas nästa morgon och kväll och pågå resten av livet utan ett mål.Som Ambjörnsson konstaterar tolkas därför städning som improduktivt [...] Som bäst utförd ska städningen inte synas alls.I socialantropologen Fanny Ambjörnssons bok ”Tid att städa. Om vardagsstädningens praktik och politik” som utkom hösten 2018 borrar hon ner sig i frågan varför städningen har så låg status, jämfört med mycket annat i vår vardag. Om inredning, bakning och matlagning blivit livsstilsglammiga hobbyer som både instagrammas och resulterar i snygga, bästsäljande böcker har städningen inte alls gått samma väg. I den mån städningen överhuvudtaget uppmärksammas i den samtida kulturen är det genom avskräckande tv-program där maniska samlare och lortgrisar får besök av professionella städkonsulter. Men konsten att rengöra en toalett som instagrambild eller coffetablebok lyser med sin frånvaro. Ambjörnsson kopplar denna låga status till städningens repetitiva form. Hemmet ska återställas till sin ursprungliga form – dammfritt och saker på rätt plats – och det är en syssla som du måste återkomma till gång på gång. Matlagning, bakning och inredning producerar någonting nytt; en måltid, bullar att bjuda på eller ett rum som förändras, men städningen erbjuder ingenting sådant. Som Ambjörnsson konstaterar tolkas därför städning som improduktivt: snarare än att skapa någonting återställer det endast det befintliga och karaktäriseras därför som cykliskt. Som bäst utförd ska städningen inte synas alls.Vad är då egentligen problemet med det repetitiva? Ambjörnsson hänvisar här till den franska sociologen Henri Lefebvre som menade att vardagslivets eviga repetitiva sysslor står i kontrast till det moderna samhällets tro på utveckling och framsteg. Att regelbundet utföra en syssla innebär att den blir en vana, snarare än en ”överraskning”. Städningen bär helt enkelt på en annan temporalitet än vår linjära tidsuppfattning som ständigt blickar framåt och söker framsteg. Den är monoton, upprepande och leder ingen vart.Således upplevs det repetitiva som meningslöst. Därför blir också pappersinsamlingen i mitt kök stående, trots att jag gladeligen lägger samma tid varje dag på att spela spel på min mobiltelefon. En ännu mer meningslös syssla men som, till skillnad från att tömma och fylla återvinningskärl, kommer med en omedelbar belöning i form av att klara nivåer och banor och därmed ger en känsla av resultat, hur fullständigt meningslöst resultatet än må vara. Inför städningen är vi många som blir rastlösa barn som väljer bort det tråkiga. I det moderna informationssamhället med hundratals distraktioner finns det ju ingen anledning att ha tråkigt. Varför dammsuga när du kan se ännu ett kattklipp på Youtube?Men vad är egentligen det där andra som tiden ska läggas på? Och är inte tristessen och repetitionen det vi egentligen behöver?Det verkar onekligen som vi blir alltfler som inte klarar av det där tråkiga repetitiva. Sektorn för hushållsnära tjänster har vuxit stort sedan RUT-avdraget infördes år 2007. Den som har råd betalar gärna någon annan för att hemmet ska upprätthålla sitt städade tillstånd. Förutom skattesubventionerad städning och liknande hushållstjänster har appar där den som har råd lejer ut tråkiga sysslor som att köra sopor till återvinningen vuxit.Utifrån de intervjuer som Ambjörnsson har gjort med människor om hur de uppfattar städning som syssla drar hon slutsatsen att just städningens rutinartade och avgränsbara karaktär gör det mer rimligt för dem som har råd att köpa tjänsten utifrån. Detta kontrasteras mot exempelvis odling, matlagning och aktiviteter med barnen som fyller en annan utvecklande funktion. Samtidigt är det en fråga om vems tid som räknas. Vem kan unna sig lyxen att slippa göra det tråkiga utan betala någon annan för att göra det? I Ambjörnssons intervjumaterial visar det sig tydligt att många inte har ekonomisk möjlighet att leja ut vardagsstädning för pengar, i synnerhet inte de som själva arbetar med städning. Tid upplevs och värderas alltså olika beroende på exempelvis klass. Städerskan städar både sitt eget hem och andras, hur repetitivt det än är, medan den mer välbeställda frigör tid till annat. Men vad är egentligen det där andra som tiden ska läggas på? Och är inte tristessen och repetitionen det vi egentligen behöver?För jämte utvecklingsidén har en annan stark rörelse vuxit fram i väst, som kretsar kring att fånga ögonblicket. Mindfulnesskulturen med appar, meditationer, yoga och övningar i att vara i nuet handlar om att släppa tankarna på både det som ska komma sedan och det som varit. Tankegångar som försöker öva den stressade nutidsmänniskan i väst att tänka mindre linjärt och ägna sig åt de sinnesförnimmelser hon upplever i stunden och att känna ro i att vara icke-producerande och inte låta sig distraheras av all information och lockelser som vi bombarderas med. Att öva sig i att ha tråkigt, helt enkelt. Här borde städningens monotona, återkommande form passa perfekt.I en artikel i tidningen Vice förklarar antropologen Martin Lang att städning kan vara ett sätt reducera stress just på grund av dess välbekanta utförande. När andra delar av livet känns osäkra och oförutsägbara fungerar städningen som en ritual som tryggar oss. Likaså fungerar repetitiva, förutsägbara sysslor bra som kognitivt hjälpmedel i sig, genom att fokusera på de rörelser vi är vana vid släpper stressen. Så kanske finns här en väg för städningen att öka sin status, för såväl stressade manliga mellanchefer som kvinnor som bollar familjeliv med karriär? Känslan av en dammtrasa som långsamt sveps över en bokhylla, glas som omsorgsfullt diskas till genomskinlighet och gamla tidningar som en efter en faller mot återvinningscontainerns golv, likt stenar mot en sjöbotten. Att få uppleva denna nu-känsla en gång i veckan skulle kunna vara en respit, i stället för någonting som måste göras. Ta en paus från stressen, stäng av mobiltelefonen, ta fram dammsugaren och njut av att bara vara.Elin Grelsson, författareKällorFanny Ambjörnsson: Tid att städa. Om vardagsstädningens praktik och politik. Ordfront förlag, 2018.Henri Lefevbre: Everyday Life in the Modern World. Transaction, 1984.Julie Stewart: Why Cleaning Makes Some People Feel Less Anxious. Vice magasin 2018-10-03.

Greg and Dan host Eva Hagberg, author of “Dark Nostalgia,” “How to be Loved,” and the upcoming “When Eero Met His Match”. Intro: “The Letter,” by The Box Tops Topics: · Eero and Aline: “They met and immediately started banging”… and launched the modern world of Architecture PR · “Publicists make their jobs look a lot harder than they are” · Don't piss off OTTO and ESTO · “I blew my entire advance on seven Iwaan Baan photos” · A Union SHoP? o Tyler Goss cut the cord · Architecture Twitter vs Instagram o Guest crit o Kevin Rogan o Michael “Freecondo” o “They were all talking about Henri Lefebvre, which makes me feel like a Boomer” o Dank Lloyd Wright o Zoolander's Center for Ants o Boy's Firm o The Architecture Lobby · The New Sincerity goes mainstream: Lesley Lokko curates Venice 2023 · Casting the “When Eero Met His Match” movie · “Letters are sexting through the centuries.” · Undoing the primacy of the image Outro: “We Used to Wait,” by The Arcade Fire

Not many know that Accra, the capital of Ghana, is home to architecture designed by Eastern Europeans. In this episode, Thuc Linh Nguyen Vu (RECET) talks to Prof. Łukasz Stanek about his award-winning book, in which he examines the role Eastern European experts - architects and engineers - played in supporting newly postcolonial states in their efforts to bring about a social transformation through urbanization. How can architecture contribute to, bring about, and document major changes in the global Cold War dynamic? What lessons can we learn from taking a close look at the entanglements between postcolonialism and socialism?   Łukasz Stanek is Professor of Architectural History at the University of Manchester, UK. Professor Stanek is the author of "Henri Lefebvre on Space: Architecture, Urban Research, and the Production of Theory" (University of Minnesota Press, 2011) and "Architecture in Global Socialism: Eastern Europe, West Africa, and the Middle East in the Cold War" (Princeton University Press, 2020), which won the Alice Davis Hitchcock Medallion by the SAH GB and the RIBA President's Award for History & Theory Research.

In this essay, Hamish Kallin muses on the links between Henri Lefebvre's idea of a right to the city and the politics of anarchism.  Hamish Kallin is Lecturer in Human Geography at the University of Edinburgh. Kallin's latest publications are on debt and gentrification and the rent gap. He is co-editor (with Giovanna Gioli, Bath Spa University) of Thinking as Anarchists: Selected Writings from Volontà from Edinburgh University Press, releasing in early 2022. Anarchist Essays is brought to you by Loughborough University's Anarchism Research Group. For more information on the ARG, visit www.lboro.ac.uk/subjects/politics-international-studies/research/arg/ . You can follow us on Twitter @arglboro Our music comes from Them'uns (featuring Yous'uns). Hear more at https://soundcloud.com/user-178917365 Artwork by Sam G: https://www.instagram.com/passerinecreations

En este episodio hablaremos sobre Henri Lefebvre con Kike España, impulsor de la Librería Suburbia y muy activo en La Casa Invisible de Málaga. A partir de su tesis sobre Reinventar la ciudad, recorreremos la biografía intelectual de Lefebvre y el sentido que tienen hoy muchos de sus conceptos, como el Derecho a la Ciudad, cuyo uso sigue siendo clave en el urbanismo, la sociología, la filosofía o el derecho contemporáneos. ¿Qué es y a qué tipo de ciudad mercantilizada se opone la vida cotidiana? ¿Quién crea de verdad el espacio urbano? ¿Es el derecho a la ciudad algo más que la garantía de un conjunto de servicios públicos?. Acompañamos en este viaje a pensar la ciudad 😃. Puedes seguirnos en nuestra cuenta de Twitter: https://twitter.com/PodcastPol Y en nuestro canal de Telegram: https://t.me/PolAndPop La banda sonora que nos acompaña hoy es “Peppy Pepe” de Kevin Mcleod, y nuestra cita pop un extracto del imprescindible Gasset en “Días de cine” (2006-10-04). Si te interesa seguir conociendo las obras de las que hablamos esta semana encontrarás una bibliografía de Lefebvre en este tuit de nuestro invitado: https://twitter.com/kikespana/status/1445081496830763023?s=20. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

El editorial de nuestro episodio 3x03 dedicado a Henri Lefebvre y el Derecho a la Ciudad. Hoy reflexionamos sobre como en nuestro siglo en el trabajo se nos piden muchas cosas, entre ellas fingir muy fuerte que estamos allí por una razón diferente a la que estamos: poder ganar un salario. Escúchanos en Ivoox Originals. Nuevo episodio todos lo sábados de la primera y tercera semana del mes. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Gemeinsames Planen, Koproduktion, Partizipation – das sind Begriffe, mit denen aktuell oft Planungsprozesse geschmückt werden. Aber auch schon vor 50 Jahren beschäftigten sich Theoretiker wie Henri Lefebvre mit den Defiziten der alleinigen Entscheidungshoheit von PlanerInnen. Was bedeutet das eigentlich, den Planungsprozess zu öffnen und welchen Wert hat das heute für Architektur und Stadträume? Darüber sprachen wir mit Olaf Grawert. Er ist unter anderem Partner bei B+, ehemals Brandlhuber+, in Berlin und an der ETH Zürich tätig. Außerdem arbeitet er im KuratorInnenteam 2038 für den deutschen Pavillon der 17. Architekturbiennale in Venedig.

O 1º episódio da 2ª temporada apresenta o debate proposto pela Profª Fraya Frehse (USP) a respeito das elaborações da Sociologia para pensar o espaço. A palestrante provoca o debate em torno da questão "Espaço para Sociologia: contribuições para a Geografia?" Ao longo da exposição, o tema central é desenvolvido a partir da apresentação de cinco perspectivas concebidas por Georg Simmel (1858-1917), Émile Durkheim (1858-1918), Henri Lefebvre (1901-1991), Pierre Bourdieu (1930-2002) e Martina Löw (1965). A debate aqui apresentado integra a programação da IX Semana Acadêmica de Geografia da UFFS-Campus Erechim, que ocorreu de 14 a 18 de junho de 2021. O evento é uma realização do diretório acadêmico dos estudantes (CAGEA) e dos Cursos de Geografia (bacharelado e licenciatura). O vídeo completo da mesa está disponível no canal CAGEA Erexim (https://www.youtube.com/channel/UCOnFlKSwa9pQZZPlnxkgiog). Apresentação do Podcast: Éverton de Moraes Kozenieski; Produção Gráfica: Gessica Design Trilha sonora: Neo Soul Jam 15 Seconds Música by Pond5

Two weeks ago hundreds of police officers and parapolice descended upon Trinity Bellwoods park in Toronto to violently evict the residents living there, displacing people from their homes and severing communities. Toronto has been cruel and brutal to the people living in this city. The austerity measures put in place using the pandemic as an excuse for imposing cruelty will not suddenly dissipate after the pandemic “ends.” It is important to note how the pandemic continues to ravage other places in the world. Many are under the illusion that it is near the end because of the inequitable global vaccine rollout and apartheid. While companies thrived, many have died. This episode was done in collaboration with the Encampment Support Network (ESN) in Toronto. We worked with Charlotte, an outreach volunteer with ESN. We discussed the evictions at Lamport Stadium that took place in May which involved a bulldozer to forcibly remove residents. Throughout the pandemic Encampment Support Network Toronto has provided help for people in encampment sites. Right now in the city, there is increasing pressure to re-open, and we must reckon with what reopening and “back to normal” means for those most disenfranchised. Public officials informed the “general public” to socially distance, while at the same time pushing unhoused people to live in crowded shelters and shelter hotels where the virus was spreading and killing. There are a number of obscene contradictions like this that reveal how people in power intentionally make others live in deplorable conditions to die.The lives of unhoused people do not matter to Mayor John Tory and downtown City Councillor Joe Cressy. Although many have known this for far too long, it has again become blatantly obvious this week. Who we let live and who we let die speaks volumes about our society and cities. Depredation and violence by capitalists and the governments that back them were fully demonstrated viscerally throughout the pandemic and should not be surprising. The pandemic again brought this out revealing sores in the underbelly of Toronto brought about by austerity measures. Entire populations are subjected to death and disease by choice. Laid bare by the pandemic are the conditions which have always existed for those marginalized by the state. Capitalism is functioning as it should be, and the pandemic has only accelerated its efficiency. The proliferation of narratives by people like high-ranking public servant Brad Ross claiming the park was “dirty” continues to push the selective disposal of human beings. They want you to imagine that people who live in encampments are unclean but also disposable; not worthy of public space or full lives.  As Zoë Dodd posted, “people are not garbage.”As Dodd and many others have pointed out these were people's homes. Dodd also reminds us how violence is a spectacle and more specifically how words like “safety” are weaponized against those who are cash poor. Parks are public spaces and necessary. Parks are a space of life, however, the City appears to only want some to enjoy parks while others must be dispossessed of public space. As Alex V. Green reminds us, parks are a site and space for so much life. The violent clearing events at Trinity Bellwoods serve as a harbinger. Austerity and privatization are in full effect as the means with exterminism as the goal. It is reasonable to expect that the new austerity and security measures are here to stay “post” pandemic. The city attempted media rehabilitation after images of the full force of their violence turned public opinion against their immorality,  claiming there were public health issues and that people in the encampment were offered housing. This is false: only one individual was offered housing. It is important that we cut to the truth and do not cast doubt on the City of Toronto's violence and injustice by their spin and narratives. This episode highlights how encampments are an alternative for so many and the reasons behind that. It also speaks to the work Encampment Support Network Toronto is doing. This episode discusses the tactics deployed by the city, police, and para-police. It also highlights how people can and do care for each other.In these moments, it is also vital to connect our discontents. We will continue to bear witness to evictions and mutations of evictions. It is necessary that we understand the global nature of clearing people. There is creative destruction in so many urban environments, but also an urbanization that has cultivated a specific desire for a specific class of citizen that the nation desires. Here, it is the rich who are desirable. It is impossible for low-income and marginalized populations to live in cities or centers of cities. Pulling from Henri Lefebvre, it is a necessity to think about who has the right to the city, the right to everything urban life offers. We deserve cities that offer life to all residents. These discontents should never neglect this struggle globally. Presently in Silwan village in East Jerusalem, thousands of Palestinians are losing their homes and even being forced to destroy their own homes. Capitalism, white supremacy, and fascism yield a massive graveyard. Criminalizing poverty is a war on people. The war on drugs is a war on people. Only through connecting our oppressions will we move forward. We do all owe each other so much, and so many deserve so much better.This is a free episode, but we hope people who are able to consider donating to groups in the mutual aid section of the shownotes. We also hope people support Idle No More, other Indigenous organizations, movements, and people in their calls to #CancelCanadaDay. You can learn more here. Habibti Please is proud to be part of the Harbinger Media Network, this episode was graciously edited by executive director Andre Goulet. The Harbinger Media Network is working towards building a left media ecosystem in Canada and we urge you to check it out if that's your thing! We are also grateful to partner with Canadian Dimension.Mutual Aid & Community Support:Although this episode is not paywalled we would deeply appreciate it if people would share or give (if able to do so) to any of the causes or groups listed below. The Encampment Support Network Toronto (ESN)  is an ad-hoc, volunteer-run network supporting people living in encampments in 6 locations throughout Toronto. This includes ESN Parkdale, ESN Trinity Bellwoods, ESN Scadding Court, ESN Moss Park, ESN LNP, and ESN Cherry Beach. We advocate for better conditions in encampments, report on city conditions and activity in encampments, and advocate for long-term permanent housing for people in their communities of choice. ESN also collects and compiles feedback from residents to support our advocacy efforts and continues to pressure the city to develop real solutions to the housing crisis. The only way to provide effective support and find solutions is by listening to and centring the needs of people experiencing homelessness.You can support their work here. website:https://www.encampmentsupportnetwork.com/instagram: https://www.instagram.com/esn.to.4real/twitter: https://twitter.com/esn_toyoutube: https://www.youtube.com/channel/UC0ZLEEETJXZtA4kSv6W7qJAThis Way Up Collective is a group of queer and trans BIPOC youth that are on the ground providing mutual aid. Taken from their website: “our goal is to actively engage the communities that we are a part of and fill in the gaps wherever possible. We support encampments, youth in shelters, and anyone in need via care packages, weekly hot meal drops, and community arts programming.” * they are one of the groups that have been helping provide meals to encampment residents and doing amazing work. You can support their work here. website: https://www.thiswayup.ca/instagram: https://www.instagram.com/thiswayupcollective/Toronto Indigenous Harm Reduction (TIHR) emerged in April 2020 during the first wave of the COVID19 pandemic in response to a massive shutdown of frontline services and a lack of basic needs for Indigenous houseless folks in the city of Toronto. Over the past year, we have provided basic needs, access to critical health support & covid 19 testing, harm reduction supplies, sexual, reproductive health and prenatal support, traditional medicines, traditional food, expressive arts, and ceremony to some of our most vulnerable people. TIHR aims to reduce the negative impacts of substance use and other stigmatized behaviours and experiences through culture and unconditional support. TIHR is an entirely queer and Two-Spirit Indigenous collective founded by Nanook Gordon, co-led by Brianna Olson Pitawanakwat and Lua Mondor, and supported by Dashmaawaan Bemadzinjin (They feed the people) and countless volunteers.To date they have served over 3,000 meals to the encampments and Indigenous street folks. You can support their work here.website: https://www.torontoindigenoushr.com/facebook: https://www.facebook.com/TorontoIndigenousHarmReductioninstagram: https://www.instagram.com/torontoindigenousharmreduction/Additional Resources:Some resources that complement this episode: Take action with the #NoEncampmentEvictions toolkitESN Toronto NewslettersWe Are Not the Virus PodcastFixing the housing crisis will mean treating shelter as a right—not a commodity by David MoscropEviction at Trinity Bellwoods repeats history by Cathy CroweDemolishing Palestinian homes for an Israeli religious theme park by Al JazeeraGuest Information Guests of the Week: Charlotte Smith of Encampment Support Network TorontoCharlotte is an outreach volunteer with the Encampment Support Network in Toronto, Ontario. The Encampment Support Network Toronto (ESN)  is an ad-hoc, volunteer-run network supporting people living in encampments in 6 locations throughout Toronto. This includes ESN Parkdale, ESN Trinity Bellwoods, ESN Scadding Court, ESN Moss Park, ESN LNP and ESN Cherry Beach. We advocate for better conditions in encampments, report on city conditions and activity in encampments, and advocate for long term permanent housing for people in their communities of choice. ESN also collects and compiles feedback from residents to support our advocacy efforts and continues to pressure the city to develop real solutions to the housing crisis. The only way to provide effective support and find solutions is by listening to and centring the needs of people experiencing homelessness.Production Credits:Hosted by Nashwa Lina Khan Show Music by Johnny Zapras and postXamericaArt for Habibti Please by postXamericaProduction by Andre GouletProduction Assistance by Charlotte Smith, Ali McKnight, Nashwa Lina Khan, and Canadian DimensionSocial Media & Support:Follow us on Twitter @habibtipleaseSupport us on PatreonSubscribe to us on Substack This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit habibtiplease.substack.com/subscribe

durée : 00:36:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Marguerite Duras, Roland Barthes, Henri Lefebvre et Vladimir Jankélévitch analysaient la question des loisirs en France en 1962. Une série de la collection "Recherche de la France" en huit volets, le huitième traitait du monde touristique et de ses coutumes, comme la photographie de vacances. - réalisation : Virginie Mourthé - invités : Marguerite Duras Écrivaine, dramaturge et cinéaste (1914-1996); Roland Barthes Ecrivain et critique littéraire français; Vladimir Jankélévitch Philosophe (1903-1985)

Un Día Como Hoy 16 de Junio: Acontece: 1816: Lord Byron escribe Fantasmagoriana a sus cuatro invitados a Villa Diodati, Percy Shelley, Mary Shelley, Claire Clairmont y John Polidori, e inspira su reto a que cada invitado escribiera una historia de miedo, que culmina con el escrito de Mary Shelley Frankenstein, John Polidori escribiendo el cuento El vampiro y Byron su poema Darkness. 1904: en Dublín, el escritor irlandés James Joyce comienza su relación con Nora Barnacle. Años después utilizará esta fecha como la del día en que transcurre su novela más conocida, Ulises. 1960: se estrena la película Psicosis, de Alfred Hitchcock. Nace: 1863: Arturo Michelena, pintor venezolano (f. 1898). 1901: Henri Lefebvre, filósofo francés (f. 1991). Fallece: 1986: Maurice Duruflé, organista y compositor francés (n. 1902). Una producción de Sala Prisma Podcast. 2021

We are joined by Tiberius to discuss "Right to the City" from "Writings on Cities" by Henri Lefebvre.

Pierre Morhange Naissance 22 juin 1901 Paris Décès 1972 Paris professeur de philosophie, écrivain et poète Pierre Morhange est né le 22 juin 1901 à Paris dans une famille juive. Professeur de philosophe à partir de 1932, il fonde avec Henri Lefebvre la revue Philosophies et milite à la fois au parti communiste et au mouvement surréaliste

Below the Radar’s Am Johal talks issues in urbanism and art as a research method with Sabine Bitter, Jeff Derksen, and Helmut Weber of the cultural research collective, Urban Subjects, based in Vancouver and Vienna. In this episode, they reflect on past arts exhibitions and programs they’ve facilitated on the urban experience, image politics, and visual representations of urbanism. Their work makes space for critical conversations about dispossession of land, the idea of a commons, the ‘right to the city’ in a contemporary context, the neoliberal commodification of housing, and more. Resources: — Urban Subjects: http://www.urbansubjects.org/ — Artspeak Gallery: http://artspeak.ca/ — “How High Is the City, How Deep Is Our Love” essay by Jeff Derksen: https://fillip.ca/content/how-high-is-the-city-how-deep-is-our-love — “The Right to the City” by Henri Lefebvre: https://theanarchistlibrary.org/library/henri-lefebvre-right-to-the-city#toc1 — The Vienna Model - Museum of Vancouver Exhibit: https://museumofvancouver.ca/vienna-model — Alternatives to the Housing Crisis: Case Study Vienna - talk by Gabu Heindl at SFU: https://youtu.be/hLhDItRvBVY

durée : 02:14:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Pierre Sipriot - Avec Henri Guillemin (critique littéraire, historien, conférencier, polémiste, homme de radio et de télévision), Emmanuel Berl (journaliste, historien, essayiste), Adrien Dansette (historien, juriste), Pierre Descaves (écrivain, chroniqueur, homme de radio), Jacques Rougerie (historien spécialiste de la Commune de Paris), Philippe Vigier (historien contemporanéiste spécialiste de la Deuxième République), Henri Lefebvre (philosophe) et Georges Lefranc (historien spécialiste du socialisme et du syndicalisme) - Lectures Jean-Paul Moulinot, Robert Party et François Périer - réalisation : Virginie Mourthé

No episódio de hoje, Diego Miranda, Samara Marino e Giovana Arada irão falar sobre esse livro de Henri Lefebvre sobre o grande camarada Lenin. Edição: ZamilianoSeja você nosso padrim também em http://padrim.com.br/revolushow e concorra ao sorteio de um livro mensal, a partir de R$5,00, e tenha acesso a nossa newsletter a partir de R$10,00; ou através do PicPay em https://www.picpay.com/LinksApoio Coletivo para a tradução do livro "O Pensamento de Lenin" de Henri Lefebvre https://www.catarse.me/o_pensamento_de_lenin_de_henri_lefebvre?project_id=114371&project_user_idCupons de Desconto#RevolushowAntifa - 15% de desconto nos livros Antifa - O manual antifascista; Como Nasce e Morre o Fascismo; e Como esmagar o fascismo da editora Autonomia literáriaREVOLUSHOW35 - 35% de desconto no livro O Anti Dimitrov da editoda Ciências Revolucionárias#REVOLUSHOW – 20% de desconto em todo o site da Editora Boitempo pelo link www.boitempoeditorial.com.br/revolushow (válido até dia 31/08)revolushow2019 - 15% de descontos nos livros da Editora BaionetaREVOLUSHOW - 10% de descontos nos livros da editora Ciências RevolucionáriasREVOLUSHOW – 20% de desconto nos livros da NovaCulturaREVOLUSHOW10 – 10% Descontos em todas as camisas da Camisa CríticaREVOLUSHOW – 20% Descontos em todas as camisas socialistas da SublimoREVOLUSHOW10 – 10% Descontos em todas as camisas da Veste EsquerdaClube do Livro1- Novacultura.info2- Expressão PopularTrilha sonora:Enxugando o Gelo by BNegão & Seletores de Freqüência is licensed under a Attribution-Noncommercial-Share Alike 3.0 Brazil License. Disponível em: https://bit.ly/30dbBjvIn The Hall of the Montain King Peer Gynt Suite no. 1, Op. 46 . Disponível em: https://bit.ly/2XsGGhx

Conversations avec...un article. C'est 10-15 minutes où je rends compte d'un article scientifique récent paru dans une revue en sciences humaines et sociales. Épisode 6 : Comment l'application Waze reconfigure la perception de la ville et crée des tensions entre conducteurs et résidents. L'article original : Eran Fisher, "Do algorithms have a right to the city? Waze and algorithmic spatiality", Cultural Studies, mai 2020, p. 1‑22. --------- Les autres références universitaires citées dans l'article et mobilisées implicitement/explicitement dans le podcast : Rob Kitchin et Martin Dodge, Code/Space – Software and Everyday Life, Cambridge, Mass., MIT Press, 2014. Henri Lefebvre, La production de l'espace, Paris, Anthropos, 1974. --------- Pour aller (un peu) plus loin : **Sur l'espace et les territoires** : Gaston Bachelard, La poétique de l'espace, Paris, PUF, 1957. Julia Bonaccorsi et Sarah Cordonnier (dir.), Territoires. Enquête communicationnelle, Paris (France), Editions des archives contemporaines, 2019. Thierry Paquot, Michel Lussault et Chris Younès (dir.), Habiter, le propre de l'humain. Villes, territoires et philosophie, Paris, La Découverte, 2007. **Sur l'espace numérique** : Marcello Vitali-Rosati, Qu'est-ce que l'éditorialisation?. 2016, Sens public, http://sens-public.org/articles/1184/. Yosra Ghliss et Marc Jahjah, "Habiter WhatsApp ? Éléments d'analyse postdualiste des interactions en espace numérique", Langage et Société, (167), 2019. Adresse : https://hal.archives-ouvertes.fr/hal-.... Stephen D. N. Graham, "Software-sorted geographies", Progress in Human Geography, 2016. Adresse : https://journals.sagepub.com/doi/10.1.... (Merci à Nicolas Nova pour la référence, indiquée sur Twitter). **Sur les algorithmes** : Serge Abiteboul et Gilles Dowek, Le temps des algorithmes, Le Pommier, 2017. David Berry, Théorie critique des algorithmes dans Bernard Stiegler (dir.), La Toile que nous voulons, FYP éditions, 2017, p. 89-122. Olivier Ertzscheid et Antonio Casilli, L'appétit des géants: pouvoir des algorithmes, ambitions des plateformes, C & F Éditions, 2017. Antoinette Rouvroy et Thomas Berns, "Gouvernementalité algorithmique et perspectives d'émancipation", Reseaux, n° 177(1), 2013, p. 163‑196. **Sur l'action collective** : Romain Badouard et Clément Mabi (dir.), "Controverses et communication", Hermès, n° 73, 2015. Daniel Cefaï et Danny Trom, Les formes de l'action collective : Mobilisation dans des arènes publiques, Paris, Editions de l'Ecole des Hautes Etudes en Sciences Sociales, 2001. **Sur les communs** : James Boyle, The Public Domain: Enclosing the Commons of the Mind, New Haven (Connecticut), Yale University Press, 2008. Marie Cornu-Volatron, Fabienne Orsi et Judith Rochfeld, Dictionnaire des biens communs, 1ʳᵉ éd. Presses Universitaires de France, 2017. Charlotte Hess et Elinor Ostrom (dir.), Understanding Knowledge as a Commons: From Theory to Practice, The MIT Press, 2011. Ivan Illich, "Le silence fait partie des communaux", La Perte des sens, Paris, Fayard, 2004. Lionel Maurel, « La notion de Communs, une redécouverte inachevée. », Horizons publics, (12), 2019. Adresse : https://hal.archives-ouvertes.fr/hal-02381170

In this episode we are joined by Stefano Bloch, Assistant Professor in the School of Geography & Development at the University of Arizona and author of Going All City: Struggle and Survival in LA’s Graffiti Subculture.  Stefano reflects on his initial encounters with the writings of Henri Lefebvre as an undergraduate literature major and discusses […]

@speakermusic speaks to @arifonline about the origins of techno, un/available historical nostalgia and a HECHA hat he is wearing that says: Make Techno Black Again. Music in this podcast is listed below. This is the third episode of the Sonic Acts x Ja Ja Ja Nee Nee Nee podcast series on the occasion of Sonic Acts Academy 2020, taking place in Amsterdam 21 - 23 February. Read more about DeForrest Brown Jr. below. 2020.sonicacts.com Music: Speaker Music - with empathy The Other People Place - Let Me Be Me Speaker Music - without excess Young Paint & Actress - Travel Paint Zadie Smith on NPR DJ Stingray - Cognitive Load Theory Dopplereffekt - Technic 1200 Félicia Atkinson & Jefre Cantu-Ledesma - And the Flower have Time For Me Speaker Music - Exercises in Black Quantum Drumming Heatsick - Déviation Félicia Atkinson & Jefre Cantu-Ledesma - Her Eyelids Say Fhloston Paradigm - ...all feat. Moor Mother Ashtar Lavanda - Opulence DeForrest Brown Jr. is a New York-based rhythmanalyst and media theorist. Brown’s praxis Speaker Music is inspired by Rhythmanalysis, a book of essays by urbanist philosopher Henri Lefebvre as well as considerations of momentum and the ‘chronopolitical’ from cultural theorist Kodwo Eshun. Mobilising free improvised electronic percussion and stereophonic audio recordings, Speaker Music yearns to caress, engineer and sculpt sentiment into a multi-textural rhythmic body, quivering the nexus event of the moment into a collapsed ‘nonpulsed time’ towards a shared sphere of intimacy. Mix, Production: Arif

durée : 01:09:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Colette Garrigues, Harold Portnoy et Robert Valette - Avec Roland Barthes, Jean Duvignaud, Henri Lefebvre, Madeleine Delpierre, Nadine Liner-Puissesseau, Francis Dumoulin, le coiffeur Alexandre, Pierre Cardin et Emmanuelle Khanh - Extrait des "Essais de morale" de Spencer - Lectures Pierre Olivier - Réalisation Bernard Saxel - réalisation : Virginie Mourthé

DeForrest Brown, Jr. unpacks his new record for Planet Mu.

DeForrest Brown, Jr. unpacks his new record for Planet Mu.

Trots mindfulnesstider så ser man inga Instagramkonton eller coffeetableböcker om konsten att rengöra en toalett. Författaren Elin Grelsson Almestad förklarar varför och slår ett slag för städandet. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes första gången i november 2018. Pappersinsamlingen i köket väller över. Den har gjort det ett bra tag nu, det är säkert några veckor sedan som lådan för kasserade dagstidningar blev översvämmad. Nu börjar det alltmer likna en utmaning; hur länge kan jag fortsätta bygga på tornet av papperstidningar innan de välter ut i en hög på golvet. Att i stället samla ihop dem och gå till pappersinsamlingen skulle ta max en kvart av mitt liv. Ändå gör jag det inte, flyr in i essäskrivandet och tänker sedan för att nästa gång jag passerar köket återigen titta på tidningstornet och suckande konstatera att jag verkligen måste göra någonting åt den där högen. Vad är det som får vuxna människor att bete sig på det sättet? Ett svar, som jag själv sällar mig till, är motståndet mot det repetitiva. När jag kommer tillbaka från pappersinsamlingen med en tom låda kommer den inom några veckor vara fylld igen. Lika uttråkad blir jag av att tvätta håret, det må vara rent nu men inom några dagar måste ritualen upprepas. Inför tandborstning blir jag som ett barn, kan skjuta upp bestyren inför natten i timmar bara för att slippa göra någonting som jag vet måste upprepas nästa morgon och kväll och pågå resten av livet utan ett mål. Som Ambjörnsson konstaterar tolkas därför städning som improduktivt [...] Som bäst utförd ska städningen inte synas alls. I socialantropologen Fanny Ambjörnssons bok Tid att städa. Om vardagsstädningens praktik och politik som utkom hösten 2018 borrar hon ner sig i frågan varför städningen har så låg status, jämfört med mycket annat i vår vardag. Om inredning, bakning och matlagning blivit livsstilsglammiga hobbyer som både instagrammas och resulterar i snygga, bästsäljande böcker har städningen inte alls gått samma väg. I den mån städningen överhuvudtaget uppmärksammas i den samtida kulturen är det genom avskräckande tv-program där maniska samlare och lortgrisar får besök av professionella städkonsulter. Men konsten att rengöra en toalett som instagrambild eller coffetablebok lyser med sin frånvaro. Ambjörnsson kopplar denna låga status till städningens repetitiva form. Hemmet ska återställas till sin ursprungliga form dammfritt och saker på rätt plats och det är en syssla som du måste återkomma till gång på gång. Matlagning, bakning och inredning producerar någonting nytt; en måltid, bullar att bjuda på eller ett rum som förändras, men städningen erbjuder ingenting sådant.  Som Ambjörnsson konstaterar tolkas därför städning som improduktivt: snarare än att skapa någonting återställer det endast det befintliga och karaktäriseras därför som cykliskt. Som bäst utförd ska städningen inte synas alls. Vad är då egentligen problemet med det repetitiva? Ambjörnsson hänvisar här till den franska sociologen Henri Lefebvre som menade att vardagslivets eviga repetitiva sysslor står i kontrast till det moderna samhällets tro på utveckling och framsteg. Att regelbundet utföra en syssla innebär att den blir en vana, snarare än en överraskning. Städningen bär helt enkelt på en annan temporalitet än vår linjära tidsuppfattning som ständigt blickar framåt och söker framsteg. Den är monoton, upprepande och leder ingen vart. Således upplevs det repetitiva som meningslöst. Därför blir också pappersinsamlingen i mitt kök stående, trots att jag gladeligen lägger samma tid varje dag på att spela spel på min mobiltelefon. En ännu mer meningslös syssla men som, till skillnad från att tömma och fylla återvinningskärl, kommer med en omedelbar belöning i form av att klara nivåer och banor och därmed ger en känsla av resultat, hur fullständigt meningslöst resultatet än må vara. Inför städningen är vi många som blir rastlösa barn som väljer bort det tråkiga. I det moderna informationssamhället med hundratals distraktioner finns det ju ingen anledning att ha tråkigt. Varför dammsuga när du kan se ännu ett kattklipp på Youtube? Men vad är egentligen det där andra som tiden ska läggas på? Och är inte tristessen och repetitionen det vi egentligen behöver? Det verkar onekligen som vi blir alltfler som inte klarar av det där tråkiga repetitiva. Sektorn för hushållsnära tjänster har vuxit stort sedan RUT-avdraget infördes år 2007. Den som har råd betalar gärna någon annan för att hemmet ska upprätthålla sitt städade tillstånd. Förutom skattesubventionerad städning och liknande hushållstjänster har appar där den som har råd lejer ut tråkiga sysslor som att köra sopor till återvinningen vuxit. Utifrån de intervjuer som Ambjörnsson har gjort med människor om hur de uppfattar städning som syssla drar hon slutsatsen att just städningens rutinartade och avgränsbara karaktär gör det mer rimligt för dem som har råd att köpa tjänsten utifrån. Detta kontrasteras mot exempelvis odling, matlagning och aktiviteter med barnen som fyller en annan utvecklande funktion. Samtidigt är det en fråga om vems tid som räknas. Vem kan unna sig lyxen att slippa göra det tråkiga utan betala någon annan för att göra det? I Ambjörnssons intervjumaterial visar det sig tydligt att många inte har ekonomisk möjlighet att leja ut vardagsstädning för pengar, i synnerhet inte de som själva arbetar med städning. Tid upplevs och värderas alltså olika beroende på exempelvis klass. Städerskan städar både sitt eget hem och andras, hur repetitivt det än är, medan den mer välbeställda frigör tid till annat. Men vad är egentligen det där andra som tiden ska läggas på? Och är inte tristessen och repetitionen det vi egentligen behöver? För jämte utvecklingsidén har en annan stark rörelse vuxit fram i väst, som kretsar kring att fånga ögonblicket. Mindfulnesskulturen med appar, meditationer, yoga och övningar i att vara i nuet handlar om att släppa tankarna på både det som ska komma sedan och det som varit. Tankegångar som försöker öva den stressade nutidsmänniskan i väst att tänka mindre linjärt och ägna sig åt de sinnesförnimmelser hon upplever i stunden och att känna ro i att vara icke-producerande och inte låta sig distraheras av all information och lockelser som vi bombarderas med. Att öva sig i att ha tråkigt, helt enkelt. Här borde städningens monotona, återkommande form passa perfekt. I en artikel i tidningen Vice förklarar antropologen Martin Lang att städning kan vara ett sätt reducera stress just på grund av dess välbekanta utförande. När andra delar av livet känns osäkra och oförutsägbara fungerar städningen som en ritual som tryggar oss. Likaså fungerar repetitiva, förutsägbara sysslor bra som kognitivt hjälpmedel i sig, genom att fokusera på de rörelser vi är vana vid släpper stressen. Så kanske finns här en väg för städningen att öka sin status, för såväl stressade manliga mellanchefer som kvinnor som bollar familjeliv med karriär? Känslan av en dammtrasa som långsamt sveps över en bokhylla, glas som omsorgsfullt diskas till genomskinlighet och gamla tidningar som en efter en faller mot återvinningscontainerns golv, likt stenar mot en sjöbotten. Att få uppleva denna nu-känsla en gång i veckan skulle kunna vara en respit, i stället för någonting som måste göras. Ta en paus från stressen, stäng av mobiltelefonen, ta fram dammsugaren och njut av att bara vara. Elin Grelsson Almestad, författare Källor Fanny Ambjörnsson: Tid att städa. Om vardagsstädningens praktik och politik. Ordfront förlag, 2018. Henri Lefevbre: Everyday Life in the Modern World. Transaction, 1984. Julie Stewart: Why Cleaning Makes Some People Feel Less Anxious. Vice magasin 2018-10-03.

In this episode I present the core ideas from Jean Baudrillard's first book, The System of Objects.Clearly influenced by his supervisor, Henri Lefebvre, Baudrillard explores what mass consumption of objects says about us and our society. Link to Patreon (For those whom can afford it): https://www.patreon.com/theoryandphilosophy/overview

  Aquele em que eles conversam, na ilustre companhia da arquiteta e urbanista Lara Nunes, professora da Universidade Estadual do Mato Grosso, sobre as contradições na vida da cidade. A partir do Estatuto da Cidade, acessível no link , Moisés provocou Lara sobre a aplicação prática de uma lei tão relevante. Ela, além de comentar a natureza desse documento e dos Planos Diretores, esclareceu aplicações e limites de tais instrumentos normativos. Os quatro odiados ficaram fascinados com a destreza com que Lara lhes retirou de certas concepções comuns, como a do Malavolta, de que o metrô é algo que pode melhorar necessariamente as questões do trânsito nas grandes cidades, ou de que exista alguma concepção de beleza da cidade que deva ser adotada de maneira geral. Com afirmações como “a beleza está nos olhos de quem vê” ou “o que é organização pra você não é organização pra mim”, ela retirou os rapazes de certos lugares comuns nos quais esse debate costuma cair. Ancorada em obras como O direito à cidade, de Henri Lefebvre, Espaços de esperança, de David Harvey e O que é cidade, de Raquel Rolnik, ela conduziu uma crítica reflexão sobre questões ácidas como, por exemplo, a relação meio ambiente e cidade. Até o Michel Foucault da “Microfísica do poder” entrou na conversa quando o Cássio provocou a Lara sobre a ausência da voz dos pobres no planejamento da cidade, a partir do parecer técnico sobre o Plano Diretor de Goiânia elaborado pelo Conselho de Arquitetura e Urbanismo de Goiás, acessível no link , questionamento que já havia surgido algumas vezes também nas falas do Osvaldo. Quer ouvir o resultado desse angu todo? Aperte o play e se enforque na corda da liberdade! ---------- Bruno é poeta e doutorando em Estudos Literários pela Unesp. Cássio é graduado em Filosofia e doutor em História pela UFU. Moisés é iniciado em roadie, direito, gastronomia e graduado em Ciências Sociais pela UFU.  Osvaldo cursou direito e é graduado em Ciências Sociais pela UFU. ------ Edição de Arte e Podcast por Vinicius Campelo / viniciusrfc@gmail.com

In EPISODE FIFTY TWO we track down Andy Merrifield, a well-published UK-based geographer who left academia in 2003 to do what he loves. We discuss his writings on William Bunge, Guy Debord, Henri Lefebvre and John Berger and engage in a wide-ranging conversation that explores the expedition, the amateur, walking with a donkey and the pilgrimages geographical imaginations.

As a concept, as a slogan, as an expression of intent The Right to The City contains within it an opportunity for this generation to conceive of new methods of class struggle, of new models of class organization, and of the return of class power. It’s but one of many opportunities we have right now to advance a constructive, utopian, and revolutionary vision of the future. It’s about demystifying social relations where they are presently abstracted. It’s about no longer viewing political activity as either pressuring politicians or becoming them. It’s about identifying what are presently hidden means of exerting our power as class to confront the class enemy, not just at work, but everywhere. Henri Lefebvre and the Right to the Cityhttp://faculty.washington.edu/mpurcell/jua_rtc.pdf Neoliberalism is a Political Project -- Harveyhttps://www.jacobinmag.com/2016/07/david-harvey-neoliberalism-capitalism-labor-crisis-resistance/ The Right to the City -- Harveyhttps://newleftreview.org/II/53/david-harvey-the-right-to-the-city PDF of Henri Lefebevre's Urban Revolution https://thecharnelhouse.org/wp-content/uploads/2017/08/Henri-Lefebvre-The-Urban-Revolution.pdfWritings on Cities -- Lefebvre https://thecharnelhouse.org/wp-content/uploads/2017/08/Henri-Lefebvre-Writings-on-Cities.pdfCritique of Urban Geography -- Debordhttps://www.cddc.vt.edu/sionline/presitu/geography.html Why Psychogeography?https://www.sayitwithpavingstones.org/news/2018/8/14/derive-0-why-psychogeography Support the show (http://patreon.com/theregrettablecentury)

En esta séptima entrega tenemos una conversación sobre el Derecho a la Ciudad, en la que interviene el arquitecto y urbanista David Arbona. Iniciamos la discusión a partir de la Carta Mundial por el Derecho a la Ciudad de las Naciones Unidas. El Derecho a la Ciudad, es un concepto que data del año 1968, cuando el francés Henri Lefebvre escribió un libro del mismo nombre para denunciar las consecuencias negativas en las urbes de los principios de la economía capitalista. Conexión Ciudadana, proyecto Multimedios transmitido en vivo de lunes a viernes de 7 a 8 de la noche a través de Studio 88.5 FM para la República Dominicana y distribuido para el mundo en todas las plataformas digitales como Anchor, Spotify, Apple PodCasts, Google PodCasts y más. En esta entrega estuvo Bartolomé Pujals, Lety Melgen y Javier Freites.

The utopian visions of architects, planners, philosophers and sociologists are important speculative projects. “We are all utopians, as soon as we wish for something different and stop playing the part of the faithful performer or watchdog”. Henri Lefebvre. In this episode, we take a deep dive into the idea of utopia with Professor Danilo Palazzo, who calls on us to become utopians. Utopians claim that cities can be used as a laboratory for imagining better urban futures. Such thinking recognises that the built and natural environments are complex systems of competing relationships; spanning the social, economic, physical, political, and environmental. These ideal cities “were convenient and attractive intellectual tools that enabled each planner to bring together his many innovations in design, and to show them as part of a coherent whole, a total redefinition of the idea of the city”. Robert Fishman In the nineteenth and twentieth century, utopian visions emerged to confront the challenges of the urban disorder and decay that followed in the wake of the Industrial Revolution. Urban pollution, water quality issues, natural disasters, and the overall decay of the urban physical environment inspired new urban visions that relied on building a strong relationship between humans and their environment. We ask Professor Danilo Palazzo about the role of utopia today. Can we study the utopias of the past in search of new ways to face the huge environmental, ecological, social, and urban problems of today? Is there space for Utopia in our university programs? Guest Professor Danilo Palazzo was born in 1962 in Milano, Italy where he grew up. From 1997 to 2012, he has taught at Politecnico di Milano as Assistant Professor and later as Associate Professor of urbanism, urban planning and urban design. In 2012 he moved to United States as Director of the School of Planning, College of DAAP, University of Cincinnati. His articles have appeared in Landscape and Urban Planning, Landscape Journal, Oikos, Urbanistica, Territorio, among others, and his books include Urban Ecological Design. A Process for Regenerative Places, Island Press, Washington D.C., 2011 (with Frederick Steiner); Urban Design. Un processo di progettazione urbana, Mondadori Università, Milano, 2008; Sulle spalle di Giganti. Le matrici della pianificazione ambientale negli Stati Uniti, Franco Angeli, Milano, 1997. He resides in Cincinnati.

Trots mindfulnesstider så ser man inga Instagramkonton eller coffeetableböcker om konsten att rengöra en toalett. Författaren Elin Grelsson Almestad förklarar varför och slår ett slag för städandet. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Pappersinsamlingen i köket väller över. Den har gjort det ett bra tag nu, det är säkert några veckor sedan som lådan för kasserade dagstidningar blev översvämmad. Nu börjar det alltmer likna en utmaning; hur länge kan jag fortsätta bygga på tornet av papperstidningar innan de välter ut i en hög på golvet. Att i stället samla ihop dem och gå till pappersinsamlingen skulle ta max en kvart av mitt liv. Ändå gör jag det inte, flyr in i essäskrivandet och tänker sedan för att nästa gång jag passerar köket återigen titta på tidningstornet och suckande konstatera att jag verkligen måste göra någonting åt den där högen. Vad är det som får vuxna människor att bete sig på det sättet? Ett svar, som jag själv sällar mig till, är motståndet mot det repetitiva. När jag kommer tillbaka från pappersinsamlingen med en tom låda kommer den inom några veckor vara fylld igen. Lika uttråkad blir jag av att tvätta håret, det må vara rent nu men inom några dagar måste ritualen upprepas. Inför tandborstning blir jag som ett barn, kan skjuta upp bestyren inför natten i timmar bara för att slippa göra någonting som jag vet måste upprepas nästa morgon och kväll och pågå resten av livet utan ett mål. Som Ambjörnsson konstaterar tolkas därför städning som improduktivt [...] Som bäst utförd ska städningen inte synas alls. I socialantropologen Fanny Ambjörnssons bok Tid att städa. Om vardagsstädningens praktik och politik som utkom hösten 2018 borrar hon ner sig i frågan varför städningen har så låg status, jämfört med mycket annat i vår vardag. Om inredning, bakning och matlagning blivit livsstilsglammiga hobbyer som både instagrammas och resulterar i snygga, bästsäljande böcker har städningen inte alls gått samma väg. I den mån städningen överhuvudtaget uppmärksammas i den samtida kulturen är det genom avskräckande tv-program där maniska samlare och lortgrisar får besök av professionella städkonsulter. Men konsten att rengöra en toalett som instagrambild eller coffetablebok lyser med sin frånvaro. Ambjörnsson kopplar denna låga status till städningens repetitiva form. Hemmet ska återställas till sin ursprungliga form dammfritt och saker på rätt plats och det är en syssla som du måste återkomma till gång på gång. Matlagning, bakning och inredning producerar någonting nytt; en måltid, bullar att bjuda på eller ett rum som förändras, men städningen erbjuder ingenting sådant.  Som Ambjörnsson konstaterar tolkas därför städning som improduktivt: snarare än att skapa någonting återställer det endast det befintliga och karaktäriseras därför som cykliskt. Som bäst utförd ska städningen inte synas alls. Vad är då egentligen problemet med det repetitiva? Ambjörnsson hänvisar här till den franska sociologen Henri Lefebvre som menade att vardagslivets eviga repetitiva sysslor står i kontrast till det moderna samhällets tro på utveckling och framsteg. Att regelbundet utföra en syssla innebär att den blir en vana, snarare än en överraskning. Städningen bär helt enkelt på en annan temporalitet än vår linjära tidsuppfattning som ständigt blickar framåt och söker framsteg. Den är monoton, upprepande och leder ingen vart. Således upplevs det repetitiva som meningslöst. Därför blir också pappersinsamlingen i mitt kök stående, trots att jag gladeligen lägger samma tid varje dag på att spela spel på min mobiltelefon. En ännu mer meningslös syssla men som, till skillnad från att tömma och fylla återvinningskärl, kommer med en omedelbar belöning i form av att klara nivåer och banor och därmed ger en känsla av resultat, hur fullständigt meningslöst resultatet än må vara. Inför städningen är vi många som blir rastlösa barn som väljer bort det tråkiga. I det moderna informationssamhället med hundratals distraktioner finns det ju ingen anledning att ha tråkigt. Varför dammsuga när du kan se ännu ett kattklipp på Youtube? Men vad är egentligen det där andra som tiden ska läggas på? Och är inte tristessen och repetitionen det vi egentligen behöver?  Det verkar onekligen som vi blir alltfler som inte klarar av det där tråkiga repetitiva. Sektorn för hushållsnära tjänster har vuxit stort sedan RUT-avdraget infördes år 2007. Den som har råd betalar gärna någon annan för att hemmet ska upprätthålla sitt städade tillstånd. Förutom skattesubventionerad städning och liknande hushållstjänster har appar där den som har råd lejer ut tråkiga sysslor som att köra sopor till återvinningen vuxit. Utifrån de intervjuer som Ambjörnsson har gjort med människor om hur de uppfattar städning som syssla drar hon slutsatsen att just städningens rutinartade och avgränsbara karaktär gör det mer rimligt för dem som har råd att köpa tjänsten utifrån. Detta kontrasteras mot exempelvis odling, matlagning och aktiviteter med barnen som fyller en annan utvecklande funktion. Samtidigt är det en fråga om vems tid som räknas. Vem kan unna sig lyxen att slippa göra det tråkiga utan betala någon annan för att göra det? I Ambjörnssons intervjumaterial visar det sig tydligt att många inte har ekonomisk möjlighet att leja ut vardagsstädning för pengar, i synnerhet inte de som själva arbetar med städning. Tid upplevs och värderas alltså olika beroende på exempelvis klass. Städerskan städar både sitt eget hem och andras, hur repetitivt det än är, medan den mer välbeställda frigör tid till annat. Men vad är egentligen det där andra som tiden ska läggas på? Och är inte tristessen och repetitionen det vi egentligen behöver? För jämte utvecklingsidén har en annan stark rörelse vuxit fram i väst, som kretsar kring att fånga ögonblicket. Mindfulnesskulturen med appar, meditationer, yoga och övningar i att vara i nuet handlar om att släppa tankarna på både det som ska komma sedan och det som varit. Tankegångar som försöker öva den stressade nutidsmänniskan i väst att tänka mindre linjärt och ägna sig åt de sinnesförnimmelser hon upplever i stunden och att känna ro i att vara icke-producerande och inte låta sig distraheras av all information och lockelser som vi bombarderas med. Att öva sig i att ha tråkigt, helt enkelt. Här borde städningens monotona, återkommande form passa perfekt. I en artikel i tidningen Vice förklarar antropologen Martin Lang att städning kan vara ett sätt reducera stress just på grund av dess välbekanta utförande. När andra delar av livet känns osäkra och oförutsägbara fungerar städningen som en ritual som tryggar oss. Likaså fungerar repetitiva, förutsägbara sysslor bra som kognitivt hjälpmedel i sig, genom att fokusera på de rörelser vi är vana vid släpper stressen. Så kanske finns här en väg för städningen att öka sin status, för såväl stressade manliga mellanchefer som kvinnor som bollar familjeliv med karriär? Känslan av en dammtrasa som långsamt sveps över en bokhylla, glas som omsorgsfullt diskas till genomskinlighet och gamla tidningar som en efter en faller mot återvinningscontainerns golv, likt stenar mot en sjöbotten. Att få uppleva denna nu-känsla en gång i veckan skulle kunna vara en respit, i stället för någonting som måste göras. Ta en paus från stressen, stäng av mobiltelefonen, ta fram dammsugaren och njut av att bara vara. Elin Grelsson Almestad, författare   Källor Fanny Ambjörnsson: Tid att städa. Om vardagsstädningens praktik och politik. Ordfront förlag, 2018. Henri Lefevbre: Everyday Life in the Modern World. Transaction, 1984. Julie Stewart: Why Cleaning Makes Some People Feel Less Anxious. Vice magasin 2018-10-03.

The utopian visions of architects, planners, philosophers and sociologists are important speculative projects. We take a deep dive into the idea of utopia with Professor Danilo Palazzo, who calls on us to become utopians. “We are all utopians, as soon as we wish for something different and stop playing the part of the faithful performer or watchdog”, argued Henri Lefebvre. Cities have often been used as the laboratory for the imaginations of better futures. Such thinking recognises that the built and natural environments are complex systems of competing relationships; spanning the social, economic, physical, political, and environmental. As Robert Fishman pointed out in 1982, these ideal cities “were convenient and attractive intellectual tools that enabled each planner to bring together his many innovations in design, and to show them as part of a coherent whole, a total redefinition of the idea of the city”. We ask Professor Danilo Palazzo about the role of utopia today. Can we study the past utopias in search of new ways to face the huge environmental, ecological, social, and urban problems of our times? Is there space for Utopia in our university programs? Professor Danilo Palazzo was born in 1962 in Milano, Italy where he grew up. He completed his Master in Architecture at Politecnico di Milano in 1987 and his PhD in Urban and Regional Planning at Istituto Universitario di Architettura di Venezia in 1993. From 1997 to 2012, he has taught at Politecnico di Milano as Assistant Professor and later as Associate Professor of urbanism, urban planning and urban design. In 2012 he moved to United States as Director of the School of Planning, College of DAAP, University of Cincinnati. His articles have appeared in Landscape and Urban Planning, Landscape Journal, Oikos, Urbanistica, Territorio, among others, and his books include Urban Ecological Design. A Process for Regenerative Places, Island Press, Washington D.C., 2011 (with Frederick Steiner); Urban Design. Un processo di progettazione urbana, Mondadori Università, Milano, 2008; Sulle spalle di Giganti. Le matrici della pianificazione ambientale negli Stati Uniti, Franco Angeli, Milano, 1997. He resides in Cincinnati.

The utopian visions of architects, planners, philosophers and sociologists are important speculative projects. We take a deep dive into the idea of utopia with Professor Danilo Palazzo, who calls on us to become utopians. “We are all utopians, as soon as we wish for something different and stop playing the part of the faithful performer or watchdog”, argued Henri Lefebvre. Cities have often been used as the laboratory for the imaginations of better futures. Such thinking recognises that the built and natural environments are complex systems of competing relationships; spanning the social, economic, physical, political, and environmental. As Robert Fishman pointed out in 1982, these ideal cities “were convenient and attractive intellectual tools that enabled each planner to bring together his many innovations in design, and to show them as part of a coherent whole, a total redefinition of the idea of the city”. We ask Professor Danilo Palazzo about the role of utopia today. Can we study the past utopias in search of new ways to face the huge environmental, ecological, social, and urban problems of our times? Is there space for Utopia in our university programs? Professor Danilo Palazzo was born in 1962 in Milano, Italy where he grew up. He completed his Master in Architecture at Politecnico di Milano in 1987 and his PhD in Urban and Regional Planning at Istituto Universitario di Architettura di Venezia in 1993. From 1997 to 2012, he has taught at Politecnico di Milano as Assistant Professor and later as Associate Professor of urbanism, urban planning and urban design. In 2012 he moved to United States as Director of the School of Planning, College of DAAP, University of Cincinnati. His articles have appeared in Landscape and Urban Planning, Landscape Journal, Oikos, Urbanistica, Territorio, among others, and his books include Urban Ecological Design. A Process for Regenerative Places, Island Press, Washington D.C., 2011 (with Frederick Steiner); Urban Design. Un processo di progettazione urbana, Mondadori Università, Milano, 2008; Sulle spalle di Giganti. Le matrici della pianificazione ambientale negli Stati Uniti, Franco Angeli, Milano, 1997. He resides in Cincinnati.

This episode discusses the theorists Henri Lefebvre and Michel de Certeau.

How to theorize what goes without saying? In The Geography of the Everyday: Toward an Understanding of the Given (University of Georgia Press, 2017), Rob Sullivan develops a general theory of everydayness as the necessary, if elusive, starting point for social and spatial theorists across disciplines. Proceeding in stepwise fashion, Sullivan builds an account of this concept that scopes over space, place, history, time itself, social and biological reproduction, embodiment, the object world, and the neural and perceptual dimensions of experience, folding high-level theorizing together with an eclectic range of empirical engagements. The book generously synthesizes insights from Erving Goffman, Michel Foucault, Michel de Certeau, Henri Lefebvre, Maurice Merleau-Ponty, Karl Marx, Torsten Hägerstrand, Jane Bennett, and other thinkers on or just off the map of critical geography today. It is an ambitious but conversational text, a committed work of exposition that might dovetail with many a seminar in geographic thought. As Sullivan sees it, materializing our own entwinement with the environment — accepting the complexity of “The TimeSpacePlace Thing” — just might incline future geographers to a richer, more affirmative sense of ethics and politics beyond the hermetic models of selfhood that, on his reading, still have wide appeal, even in an age when the costs of anthropocentrism seem all the more immediate. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

How to theorize what goes without saying? In The Geography of the Everyday: Toward an Understanding of the Given (University of Georgia Press, 2017), Rob Sullivan develops a general theory of everydayness as the necessary, if elusive, starting point for social and spatial theorists across disciplines. Proceeding in stepwise fashion, Sullivan builds an account of this concept that scopes over space, place, history, time itself, social and biological reproduction, embodiment, the object world, and the neural and perceptual dimensions of experience, folding high-level theorizing together with an eclectic range of empirical engagements. The book generously synthesizes insights from Erving Goffman, Michel Foucault, Michel de Certeau, Henri Lefebvre, Maurice Merleau-Ponty, Karl Marx, Torsten Hägerstrand, Jane Bennett, and other thinkers on or just off the map of critical geography today. It is an ambitious but conversational text, a committed work of exposition that might dovetail with many a seminar in geographic thought. As Sullivan sees it, materializing our own entwinement with the environment — accepting the complexity of “The TimeSpacePlace Thing” — just might incline future geographers to a richer, more affirmative sense of ethics and politics beyond the hermetic models of selfhood that, on his reading, still have wide appeal, even in an age when the costs of anthropocentrism seem all the more immediate. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

How to theorize what goes without saying? In The Geography of the Everyday: Toward an Understanding of the Given (University of Georgia Press, 2017), Rob Sullivan develops a general theory of everydayness as the necessary, if elusive, starting point for social and spatial theorists across disciplines. Proceeding in stepwise fashion, Sullivan builds an account of this concept that scopes over space, place, history, time itself, social and biological reproduction, embodiment, the object world, and the neural and perceptual dimensions of experience, folding high-level theorizing together with an eclectic range of empirical engagements. The book generously synthesizes insights from Erving Goffman, Michel Foucault, Michel de Certeau, Henri Lefebvre, Maurice Merleau-Ponty, Karl Marx, Torsten Hägerstrand, Jane Bennett, and other thinkers on or just off the map of critical geography today. It is an ambitious but conversational text, a committed work of exposition that might dovetail with many a seminar in geographic thought. As Sullivan sees it, materializing our own entwinement with the environment — accepting the complexity of “The TimeSpacePlace Thing” — just might incline future geographers to a richer, more affirmative sense of ethics and politics beyond the hermetic models of selfhood that, on his reading, still have wide appeal, even in an age when the costs of anthropocentrism seem all the more immediate. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

How to theorize what goes without saying? In The Geography of the Everyday: Toward an Understanding of the Given (University of Georgia Press, 2017), Rob Sullivan develops a general theory of everydayness as the necessary, if elusive, starting point for social and spatial theorists across disciplines. Proceeding in stepwise fashion, Sullivan builds an account of this concept that scopes over space, place, history, time itself, social and biological reproduction, embodiment, the object world, and the neural and perceptual dimensions of experience, folding high-level theorizing together with an eclectic range of empirical engagements. The book generously synthesizes insights from Erving Goffman, Michel Foucault, Michel de Certeau, Henri Lefebvre, Maurice Merleau-Ponty, Karl Marx, Torsten Hägerstrand, Jane Bennett, and other thinkers on or just off the map of critical geography today. It is an ambitious but conversational text, a committed work of exposition that might dovetail with many a seminar in geographic thought. As Sullivan sees it, materializing our own entwinement with the environment — accepting the complexity of “The TimeSpacePlace Thing” — just might incline future geographers to a richer, more affirmative sense of ethics and politics beyond the hermetic models of selfhood that, on his reading, still have wide appeal, even in an age when the costs of anthropocentrism seem all the more immediate. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

How to theorize what goes without saying? In The Geography of the Everyday: Toward an Understanding of the Given (University of Georgia Press, 2017), Rob Sullivan develops a general theory of everydayness as the necessary, if elusive, starting point for social and spatial theorists across disciplines. Proceeding in stepwise fashion, Sullivan builds an account of this concept that scopes over space, place, history, time itself, social and biological reproduction, embodiment, the object world, and the neural and perceptual dimensions of experience, folding high-level theorizing together with an eclectic range of empirical engagements. The book generously synthesizes insights from Erving Goffman, Michel Foucault, Michel de Certeau, Henri Lefebvre, Maurice Merleau-Ponty, Karl Marx, Torsten Hägerstrand, Jane Bennett, and other thinkers on or just off the map of critical geography today. It is an ambitious but conversational text, a committed work of exposition that might dovetail with many a seminar in geographic thought. As Sullivan sees it, materializing our own entwinement with the environment — accepting the complexity of “The TimeSpacePlace Thing” — just might incline future geographers to a richer, more affirmative sense of ethics and politics beyond the hermetic models of selfhood that, on his reading, still have wide appeal, even in an age when the costs of anthropocentrism seem all the more immediate. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

We discuss rhythm and cities with Soundpainting creator and composer Walter Thompson in this first installment of our Portraits of Rhythmanalysts inspired by Henri Lefebvre’s collection of essays entitled, “Rhythmanalysis: Space, Time and Everyday Life.”  Thompson discusses connections between the everyday and his artistic practice.

This time we talk with a fascinating sound artist and composer Mack met at a recent meeting of the Society for Literature, Science, and the Arts. As his website puts it, "Brian House is an artist who explores the interdependent rhythms of the body, technology, and the environment. His background in both computer science and noise music informs his research-based practice. Recent interests include AI, telegraphy, and urban rats." If that description looks a little daunting on the screen, the work itself sounds really cool to cris and Mack. We'll listen to three pieces of Brian's: a composition that imprints motion-tracking data on collectible vinyl, a field recording from the Okavango Delta in Botswana, and an encounter with the wildlife that put the "burrows" in New York's five boroughs.Links to works discussed: Quotidian Record (2012), Urban Intonation (2017).Mack notes that it was incredible to edit this episode using Daniel Fishkin's daxophone arrangement of John Cage's "Ryoanji" (1983).The other music on today's episode is by Brian House and Graeme Gibson. Transcript [♪ ethereal music playing ♪][CRIS CHEEK]This… is… Phantom Power.[FEMALE COMPUTERIZED VOICE]Episode 3.[CRIS]Dirty Rat.[unidentified sounds raising and lowering in pitch, banging noises][CRIS]So, what are we listening to here, Mack?[MACK HAGOOD]What do you think we’re listening to here, Cris?[noises continue, Mack laughing][CRIS]I don’t know, what is that? Is that an owl, put through a filtering device or something?[MACK, still laughing]You think it sounds like an owl put through a filtering device? Let’s listen to some more.[CRIS]Oh, wow. So synthetic.[MACK]It sounds like an old theatre organ having a bad day.[CRIS]Oh, yeah, no, I’m hearing that now. A pipe organ.[MACK]Yeah.[CRIS]Or something that hasn’t got a lot of wheeze left in it.[MACK]Something sad is happening in the silent film.[CRIS]Something very sad is happening.[MACK]Harold Lloyd fell off the clock.[both laughing][CRIS]And so he did.[MACK]Alright, so… it’s… it’s rats.[CRIS]That’s a rat?![MACK]That’s a rat.[clanging noises begin, rat noises stop][MACK]So today we’re gonna meet the guy behind the rat recordings that you just heard a moment ago:  Brian House. He’s a composer and sound artist I met last November at the Conference for the Society of Literature, Science, and the Arts, which is this really crazy conference for interdisciplinary scholarship and creative experimentation. I met Brian, and when I heard about what he was working on, I just knew we had to have him on the show. His work uses sound to express relationships between bodies, human and nonhuman bodies, social relationships, geographic relationships, temporal relationships, and sonic relationships. So we’ll be hearing three different pieces of his:  a musical composition that traces human, urban, and transatlantic movement, a field recording from the wetlands of Botswana, and an installation that will take us into the underground boroughs of New York City. This is work that helps us make sense of relationships we normally can’t sense at all.[BRIAN HOUSE]Well, my name is Brian House, and I’m an artist based right now up here in Providence, though I frequently do work down in New York. Yeah, I’m up here at Brown University at the moment, working on my PhD in music.[♪ upbeat technological music ♪][CRIS]So, Mack – how does Brian get interested in rats when he’s working on music?[MACK]Well, I think in order to get into that, we need to understand more of his previous work and some of the themes that are going on in it.[BRIAN]You know, I’ve been particularly interested in the ideas of Henri Lefebvre, right, who, in his last writings, outlined this poetic methodology called “Rhythm Analysis.”[MACK]Yeah, yeah, he was the French Marxist sociologist, spent a good amount of time thinking about life in the city, and –[CRIS]And the design of the urban environment, and –[BRIAN]And that’s been the basis for a lot of my rece...

Ícones foram criados para relacionar conceitos computacionais com objetos do dia-a-dia que as pessoas já conhecem e sabem usar. Porém, com o passar do tempo, ícones passaram a representar conceitos não necessariamente computacionais. A semiótica aplicada ao design de ícones permite estudar esses novos processos de significação e sua contribuição para a Interação Humano Computador.Slides Áudio Gravação de aula realizada na Apple Developer Academy PUCPR. Design de Ícones e Semiótica da Interação [MP3] 1 hora e 24 minutos Transcrição A palavra ícone foi utilizada primeiramente para definir certos tipos de pinturas e afrescos que expressavam a essência das divindades Cristãs. Esse formato ficou bastante popular nos primeiros séculos da Igreja Ortodoxa. Essa imagem é um detalhe do ícone mais antigo ainda existente, Cristo Pantocrátor (século VI). O ícone provavelmente representaria a posição dual de Jesus Cristo como homem e como Deus. Utilizando uma técnica de divisão e espelhamento das metades da imagem, fica claro que os dois lados da face do Cristo são muito diferentes. A face esquerda de Cristo parece mais velha e dura do que a face da direita, sugerindo o aspecto divino. A face da direita parece mais temerosa e jovial, sugerindo o aspecto humano. O ícone religioso é rico em detalhes e significados. No século VIII, emergiu um movimento iconoclasta no Império Bizantino que destruiu a maior parte dos ícones da época. Nesta iluminura, o autor faz uma analogia entre o pintor de ícones e os algozes de Cristo. O ícone estaria restringindo a divindade a uma representação fixa, que não faz jus à natureza divina. A adoração dos ícones assim como a iconoclastia são frutos de uma tensão que se acumula no cerne da sociedade moderna. Henri Lefebvre escreveu prolificamente sobre a contradição entre representação e realidade. Essa contradição foi magistralmente revelada por René Magritte na obra A Traição das Imagens (1928). A imagem de um cachimbo contradiz a frase "Isto não é um cachimbo", porém, a frase também é uma imagem. Como seria possível falar de um cachimbo sem a representação mínima dele pela linguagem? Na metade do século XX, a representação se tornou tão oposta à realidade que foi necessário construir máquinas capazes de processar signos de maneira independente da representação mecânica. Alan Turin e colegas construíram em 1939 a primeira máquina semiótica com o intuito de quebrar o código de criptografia alemã. Essa máquina desvinculava a representação do cálculo da representação mecânica. O filme "O jogo da imitação" (2014) conta essa história muito bem. A representação independente do suporte permitiu o surgimento de uma miríade de conceitos computacionais. Esses conceitos, entretanto, eram abstratos demais para quem não tinha uma formação matemática ou de engenharia. Com a intenção de tornar conceitos computacionais mais concretos e, portanto, acessíveis para especialistas de outras áreas, Douglas Engelbart e sua equipe na SRI International criaram o mouse em 1964, um dispositivo apontador que permitia interagir com representações computacionais de uma maneira mais direta. Diversas outras inovações surgiram à partir disso, tal como o hipertexto, o comando copiar e colar e outras. Nos anos 1970, surgem monitores de alta resolução capazes de exibir interfaces gráficas. David Canfield Smith defendeu uma tese em 1975 que propunha pela primeira vez a utilização de ícones em interfaces gráficas. Inspirado nos ícones religiosos, Smith propôs que ícones poderiam ser tão abstratos quanto concretos, ou seja, eles seriam representações capazes de processamento ao mesmo tempo capazes de referir-se a uma experiência concreta que o usuário tenha tido. O exemplo que ele oferece é a linguagem de programação visual Pygmalion, que ofereceria uma série de diagramas interativos. Nesta imagem, temos diversos ícones. O mais concreto são as setas da estrutura if/else que se assemelha a uma bifurcação de estradas. Em 1973, Tim Mott e Larry Tessler desenvolveram a Office Schematic dentro do laboratório Xerox Parc, uma proposta que iria definir o paradigma de representação para interfaces gráficas. Mott estava pensando como aproveitar melhor o recurso da interface gráfica e percebeu que haviam metáforas físicas para representar ações intra-documentos, tal como o comando de copiar e colar. Porém, não haviam metáforas para ações inter-documentos. Foi então que, diante de um guardanapo num restaurante, ele teve a ideia de representar um escritório na interface gráfica, onde os documentos pudessem ser movidos de um lugar a outro. O Office Schematic ficou conhecido posteriormente como metáfora desktop. Trabalhando com Mott e Tessler, Smith desenhou a primeira linha de ícones do Xerox Alto (1974), o primeiro computador a implementar uma interface gráfica com a metáfora desktop. Estes ícones representavam arquivos que podiam ser movidos para diferentes mídias de armazenamento, impressoras e outros computadores. Diversos outros conceitos de interface gráfica já estavam ali presentes, tais como a barra de rolagem, os menus e a manipulação direta. O Xerox Star que sucedeu o Alto tinha a proposta de ir além de controlar a edição e impressão de documentos. A proposta era ser um computador multifuncional para a gestão de empresas. Quatro séries de ícones foram criadas e testadas com usuários para verificar quais faziam mais sentido. Na Xerox Parc já existia uma visão de que o usuário leigo em informática deveria ser priorizado no projeto. Infelizmente a Xerox não conseguiu compreender as inovações que surgiram no Parc e acabou assinando um acordo com a Apple para que Steve Jobs e sua equipe visitasse o laboratório e conhecesse tais inovações. Ao ver a interface gráfica, Jobs teve a certeza de que era isso que precisava para realizar o conceito de Computação Pessoal que movia a empresa. Os ícones adquiriram o status que tem hoje depois que a Apple contratou Susan Kare para desenhar a família de ícones do primeiro Macintosh, lançado em 1984. Esses ícones eram muito diferentes dos ícones do Xerox Star. Ao invés de representar apenas conceitos computacionais, alguns destes ícones representam ações e emoções humanas. O objetivo era mostrar que o computador poderia refletir as preferências e interesses do usuário, o que fica evidente no ícone do Mac com um sorriso. Diversos outros ícones representavam partes do corpo humano para enfatizar essa relação pessoal com o usuário. O próximo marco na história dos ícones só viria em 2007, quando a Apple lançava o iPhone. Esse smartphone não era o primeiro com tela touch screen, porém, era o primeiro a priorizar o design de ícones. O design de produto do iPhone é extremamente simples visando colocar em evidência a interface gráfica e os ícones coloridos que ela continha. Os ícones eram o produto, o que ficaria mais claro depois que a Apple lançou a App Store e a possibilidade de desenvolvedores de fora da Apple colocarem ícones no iPhone para permitir acesso a seus aplicativos. Na versão comemorativa de 10 anos de lançamento do primeiro iPhone, a Apple novamente inovou no design de ícones com o lançamento dos animojis, que representavam através de animações sincronizadas em tempo real as expressões faciais do usuário. Aqui a Apple realizou de maneira literal a ideia antiga de que o computador poderia ser um espelho do usuário. O iPhone X também eliminou a necessidade de botões físicos, tornando o produto uma grande tela para interfaces gráficas. A relevância dos ícones na história da Interação Humano Computador se deve à: a) Relação entre conceitos abstratos a experiências concretas b) Mnemônica (fácil memorizar e reconhecer) c) Localização rápida na tela d) Economia de espaço na tela e) Internacionalização f) Afeto emocional Ao longo de sua história, ícones foram padronizados em certos elementos constitutivos. A sua "anatomia" atual consiste em sete elementos: fundo (contexto onde ele aparece), figura (forma básica ou silhueta), borda (entre a figura e o fundo), cor predominante da figura, iluminação (proveniente do canto superior esquerdo), rótulo descritivo e uma ação (representação estática de um movimento). A anatomia do ícone tem impacto direto na memorização e reconhecimento do ícone, que acontecem em processos graduais, mesmo que muito rápidos. A memorização começa à partir da imagem complexa do ícone que fica na memória de curta duração. Com o passar do tempo, a memória deste ícone se torna mais difusa e apenas traços distintivos permanecem. Após muito tempo, a pessoa lembra de características gerais, tais como a forma da figura, sua cor predominante ou a localização na tela. Em alguns casos, o ícone é completamente esquecido, porém, quando ele é visto novamente, o processo de reconhecimento acontece mais rapidamente. Ao escanear a tela, a pessoa busca primeiramente as características gerais do ícone, tais como a cor predominante e só depois considera os seus traços distintivos. Devido às características desses dois processos, ícones devem ter silhuetas simples e poucas cores. A maior relevância do ícone não está, entretanto, associado aos processos de memória e de reconhecimento, mas sim no processo de significação. O ícone tem o potencial de estabelecer uma rica rede de associações que levam ao sentido do aplicativo. O ícone do Find My iPhone lembra um radar que, assim como diversos outras tecnologias militares, agora estão presentes no cotidiano de civis. Uma tecnologia militar conecta-se bem com os casos de uso do aplicativo: roubo e vigilância parental. Não por acaso, a Apple tem um segundo aplicativo com a mesma função de localização do aparelho, porém, o Find My Friends exige autorização do amigo para compartilhar a localização. Com o Find My iPhone, os pais podem saber onde os filhos estão a qualquer momento através da interface web do iCloud sem autorização dos filhos. Esse processo de significação é muito bem explicado pela Engenharia Semiótica, uma teoria de Interação Humano Computador criada pela pesquisadora Clarisse de Souza da PUC-Rio. Essa teoria é baseada em duas premissas: O computador é uma máquina capaz de processar signos e a interface com o usuário é um processo de comunicação baseado em signos. O conceito principal da Engenharia Semiótica é a metacomunicação, ou seja, a comunicação do designer explicando como o usuário pode se comunicar com o computador. A aplicação seria uma mensagem que o designer enviaria para o usuário expressando que soluções existem para suas necessidades. O usuário interpretaria os signos contidos nessa mensagem e realizaria suas atividades. A metacomunicação é unidirecional, pois uma vez que o aplicativo é codificado, o designer não pode mais mudar a sua mensagem. Um dos maiores insights da Engenharia Semiótica é a distinção entre dois tipos de metacomunicação: operacional e estratégica. Na metacomunicação operacional, a interface expressa como usar a aplicação. Este tipo de metacomunicação já recebeu muita atenção de outras teorias de IHC. O diferencial da Engenharia Semiótica é a ênfase na metacomunicação estratégica, que expressa por quê o usuário deve utilizar a aplicação. No exemplo do tour de entrada do aplicativo AirBnB a descrição se refere às características da experiência do usuário e não aos elementos da interface. Embora a Engenharia Semiótica não coloque nesses termos, eu compreendo que ela propõe que o designer atue como um tradutor entre duas linguagems: a linguagem de programação e a linguagem de interação. Enquanto a linguagem de programação serve para dar instruções para o computador, a linguagem de interação serve para dar instruções para o usuário. Devido à informalidade, a linguagem de interação é definida por todos os "falantes", está em constante evolução e ninguém sabe exatamente todas as possibilidades desta linguagem. Em contraste, a linguagem de programação é definida por um grupo pequeno de pessoas e se torna fixa, devido à necessidade de formalidade. A linguagem de programação expressa conceitos computacionais enquanto a linguagem de interação expressa diversos tipos de conceitos. A unidade básica da linguagem de interação é o padrão de interação (pattern). Como exemplo, temos o padrão "Puxe para atualizar", primeiro utilizado pelo aplicativo do Twitter que, ao mesmo tempo em que criava um novo padrão, quebrava o padrão de clicar no ícone home para atualizar o feed, uma vez que este que não era percebido pelos usuários. O padrão de "Puxe para atualizar" logo se espalhou por outros aplicativos e se tornou parte da linguagem da interação falada nos aplicativos móveis. Ícones são interpretados como parte de uma linguagem de interação, porém, eles não são meras palavras. Ícones são frases. É possível através de um método chamado análise da estrutura frasal decompor um ícone em suas partes constitutivas. O sujeito normalmente refere-se ao usuário, o verbo é a ação possível, o advérbio é um qualificativo da ação e o predicado é o objeto principal do ícone, qualificado por adjetivos. No caso do ícone Firefox Crystal vemos que o designer Everaldo Coelho qualificou a raposa do Firefox como um animal mágico que pode navegar a web tão rápido quanto o fogo. Assim como na linguagem falada, nem todas as frases são ditas por completo, pois há informações não-ditas e implícitas. No caso dos ícones padrão da iOS Toolbar e Navigation Bar, as frases possuem verbos sem predicados, pois estes se referem ao que está carregado na View atual. Por outro lado, os ícones padrão da iOS Tab Bar possuem o mesmo verbo implícito (ver) com diversos predicados. Os ícones não demonstram o que é possível fazer com os objetos, apenas sugerem o tipo de conteúdo. Já os ícones do Home Screen do iOS não seguem um padrão. Alguns possuem verbo e predicado (Mapas), enquanto outros possuem apenas um substantivo (Mail). Porém, todos possuem muitos adjetivos para qualificar a experiência proporcionada por cada aplicativo. Os qualificativos são marca registrada dos ícones da Apple. Quando se compõe uma série de ícones para um mesmo aplicativo, vale à pena definir um padrão consistente para as frases. Assim a linguagem de ícones contribui para o microbranding da marca. A linguagem de ícones da Spotify possui espessuras finas, curvas com mesma ângulação e preenchimento vazio. A consistência na linguagem de ícones não deve, entretanto, prejudicar a distinção entre as frases. Uma vez que ícones nem sempre são vistos com atenção, a silhueta da figura deve ser diferente mesmo que a figura seja parecida, de modo a facilitar o reconhecimento diante de formas similares. Este exemplo foi publicado por @MegDraws no Twitter. Até agora estamos discutindo as possibilidades que a forma oferece para a informação. Porém, a "mágica" dos ícones acontecem nos níveis de estrutura e de função, quando contribui para a interação e experiência. Há uma certa equivalência entre esses três níveis de possibilidades aos três níveis de análise da linguagem: sintática, semântica e pragmática. Iremos agora analisar ícones nos níveis semânticos e pragmáticos. A Engenharia Semiótica é baseada no conceito de signo de Charles Sanders Peirce, o filósofo que fundou a escola americana de semiótica. O conceito de signo é baseado numa tríade entre três elementos: o representamen (também chamado de representante), o objeto que ele representa e o interpretante (também conhecido como significado). Neste exemplo, o ícone de pasta representa dados no disco rígido, mas a interpretação deste para um usuário específico é o álbum de fotos, pois é nesta pasta que a pessoa guarda as fotos. Segundo Peirce, um signo nunca emerge isolado. Cada signo é significado em relação a outros signos e dá origem a novos signos num processo conhecido como semiose ilimitada. Neste exemplo, o signo de álbum de fotos lembra a pessoa do álbum impresso, ela sente vontade de imprimir algumas fotos e imagina que pode dar de presente para alguém aquele álbum. Na Engenharia Semiótica, a semiose não é ilimitada. Ela pode ser interrompida por um signo que não faz sentido, fenômeno conhecido como breakdown. Neste momento, o usuário fica perdido ou frustrado e desiste do que estava fazendo. Certa vez tentei imprimir um álbum de fotos que havia preparado no Fotos do Mac e fiquei surpreso negativamente ao descobrir que não havia como encomendá-lo impresso pela ausência do serviço no Brasil. O aplicativo poderia ter me dito isso antes de maneira mais clara. A Engenharia Semiótica identificou diferentes expressões comuns do usuário quando ocorre a interrupção da semiose (De Souza et al, 1999). Algumas dessas expressões podem indicar um problema sério de usabilidade (fundo vermelho), como por exemplo, quando o usuário faz algo errado e não percebe. Elas também podem indicar um crescimento da competência do usuário e a dispensa de ajuda (fundo verde). Vejamos dois exemplos de interrupções na semiose causadas por uma mensagem com ruídos ou desvios de interpretação. O Macintosh original não tinha botão de ejetar para o disquete. Os designers criaram uma associação de arrastar e soltar o ícone do disquete até o ícone da lixeira para ejetar o disco. Depois de muitas reclamações de usuários que não encontravam a função (Onde estou?), o ícone da lixeira passou a mudar para um ícone de ejetar sempre que um disco era arrastado. Mesmo com o representamen correto, muitos usuários ainda ficam com medo de apagar os dados do disquete, CD, DVD ou pendrive até hoje e preferem fazê-lo pelo botão de ejetar do finder (Obrigado, mas não). Na minha visão, a semiose é, na maior parte do tempo, interrompida pela falta de interesse ou de atenção. A pessoa simplesmente não quer aquilo que o signo está representando. O que mais interessa aos usuários não é como o ícone foi desenhado (sintática), nem o que ele representa computacionalmente (semântica), mas o que é possível fazer com ele (pragmática). Essa característica da Interação Humano Computador está sendo gradualmente compreendida através de teorias como a Engenharia Semiótica. Emojis são um exemplo popular de ícones que não representam conceitos computacionais. Ele não representa um espaço ou uma funcionalidade do computador, mas sim uma emoção ou intenção de comunicação do usuário. Ícones representam cada vez mais conceitos não-computacionais. Isso torna ícones cada vez mais sujeitos às contradições da sociedade, em particular, entre representação e realidade. Na última versão do iOS (11), a Apple incluiu a silhueta que parece de uma mulher no ícone da lista de contatos. Anteriormente, o ícone continha apenas uma figura com feições bastante masculinas. A questão contraditória que levou à Apple a incluir a silhueta é: porque mulheres não deveriam ser representadas se elas figuram na lista de contatos? Apesar da mudança, o déficit de representação da mulher ainda continua. Embora o signo seja uma estrutura de simples compreensão, a análise do signo permite ver sutilezas que não estão claras à primeira vista. Peirce propôs três tricotomias para analisar signos. A primeira tricotomia diz respeito ao representamen e ele mesmo. O qualisigno é uma relação de representação em que a qualidade do representamen fala por si. Neste exemplo de qualisigno, o ícone representa a qualidade de ser ícone, a "iconicidade". O sinsigno é uma relação de particularidade. O signo representa algo único, particular, tal como os trejeitos da expressão facial de uma pessoa. O legisigno é tal como uma Lei, algo inevitável. A representação do botão de desligar inequivocamente irá desligar o aparelho. A segunda tricotomia diz respeito à relação entre representamen e objeto. Quando o representamen é similar ao objeto, a relação é chamada tecnicamente de ícone. Note que no resto dessa apresentação eu não utilizei essa compreensão mais restrita de ícone. Prefiro utilizar o nome ícone também para índices e símbolos, que não são tipos de imagens mas tipos de relações. A relação de índice é uma causalidade, ou seja, o objeto causa uma modificação na representação ou vice-e-versa. No exemplo do calendário, a data atual modifica a forma do ícone. Já a relação de símbolo é completamente arbitrária e se justifica apenas pela convenção. O desenho + não tem nenhuma relação além da arbitrariedade com a operação matemática da soma, por exemplo. A terceira tricotomia serve para analisar as relações entre representamen e interpretante. Se o ícone representar uma possibilidade não muito clara, ele pode ser chamado de rema, tal como o ícone do microfone da Siri. O usuário não sabe se ela vai entender o que ele irá falar. No momento em que o usuário fala, aparece um outro ícone, um ícone dinâmico cuja forma se altera de acordo com o volume das ondas sonoras. Esse ícone é um fato. A Siri está lhe ouvindo, mas ainda não há certeza de que ela lhe entende. Você só consegue perceber isso nas respostas que a Siri dá, que não seria um ícone, mas seria uma relação de argumento. O argumento expressa uma relação de certeza entre o representamen e o interpretante. Embora as tricotomias sirvam à classificação de relações, elas não foram criadas meramente para classificar signos desse ou daquele tipo. As tricotomias servem para perceber as variações no processo de representação. Scott McCloud conseguiu representar isso magistralmente no triângulo que mostra o continuum entre realidade, significado e plano da figura. Os extremos desse triângulo corresponderiam ao ícone na esquerda (figura muito similar à realidade), ao qualisigno no topo (representamen representando a representação) e ao símbolo na direita (rosto simplificado). O signo pode transitar entre as categorias dependendo da situação em que ele emerge. Um estudo superficial sobre a Semiótica pode levar o designer a acreditar que ele pode garantir um interpretante a partir da manipulação do representamen. Isso, segundo a Semiótica não é possível, pois o objeto do signo tem caráter dinâmico. Ora o signo representa uma coisa, ora outra. Por esse motivo não há uma tricotomia sobre a relação entre representamen e objeto. O que pode ser feito é considerar os padrões de interação existentes, as particularidades do contexto e as possibilidades expressivas. No design de ícones, existem três práticas que consideram as relações das tricotomias peirceanas. A primeira prática é a definição de parâmetros de representação antes de conceber o signo. A primeira coisa que Susan Kare ao ser contratada pela Apple em 1982 para desenhar ícones foi comprar um caderno de rascunhos quadriculado. Desenhando nesse caderno, ela restringiu os representamens ao que seria possível com a tecnologia do pixel da interface gráfica. A segunda prática é a geração de alternativas para encontrar representamens potenciais do objeto. Tom Bigelajzen desenhou algumas alternativas para os ícones do player multimídia VLC antes de escolher a final. Isso ajudou-o a considerar qual representamen era mais adequado ao objeto (a funcionalidade de configuração do aplicativo). Para verificar a relação entre representamen e interpretante, é indicada a prática de testes com usuários. No exemplo acima, eu criei um sistema chamado Icon Sorting que mostrava um ícone a cada 13 segundos e perguntava ao usuário qual o rótulo mais apropriado. A quantidade de opções e o tempo curto forçava uma associação rápida e corriqueira, mais parecida com o contexto de uso. Os ícones que não tiveram associações foram descartados. Existem outras maneiras de testar ícones com usuários, por exemplo, através de entrevistas e diálogos presenciais. Apesar de tudo o que disse até agora, a melhor maneira de projetar um novo ícone, muitas vezes é não fazê-lo. Se existe um ícone que atingiu o status de símbolo para aquele objeto, é melhor utilizá-lo do que criar um novo. Existem diversas bibliotecas com milhares de ícones gratuitos para utilização. Na maior parte dos casos, é mais fácil adaptar um desses ícones do que criar um do zero. O desafio do design de ícones não é o desenho, mas sim a designação de sentido, que não é uma tarefa exata. Não é um processo exato porque mesmo os símbolos mais convencionais podem perder o sentido ao longo do tempo. Um exemplo contemporâneo é o ícone de salvar que, antigamente, referia-se à mídia de armazenamento principal (disquete de 3 e 1/2 polegadas). Hoje em dia, existem pessoas que nunca viram um disquete desse tipo mas que conseguem reconhecer o ícone de salvar em diferentes contextos. Porém, existem muitos aplicativos que já não estão mais utilizando este ícone para representar salvar ou porque não existem mais essa funcionalidade (os dados são salvos automaticamente em intervalos de tempo) ou porque existem dois tipos de salvar (salvar na nuvem e salvar no dispositivo). Qualquer signo estará sempre sujeito à contradição entre representação e realidade. O design de ícones reproduz e transforma essa contradição o tempo todo. Compreendê-la é mais interessante do que negá-la. Made with Keynote Extractor.Comente este post

Matt & Phil chat on a cross-country check-up this week. Phil opens up about his life as an aspiring PhD, Matt tells us how to travel with a young one, and we debate the merits and demerits of compression socks and tourists. Yup, it got a little silly. Go figure. We do settle down and put on our serious faces to discuss how we, individually and collectively, experience space and time. Seen as social aspects of our world, how we experience space and time is highly dependant on the structures that surround us. However, we also have agency to navigate space and time, allowing for seemingly endless opportunities. With a different view of space and time, is it possible to think about creativity, productivity, technological advancements, and (dis)abilities differently? We thank Matt Steady for kindly allowing us to play three of his songs: Theory of Ruins (from the new album “Theory of Ruins”) The Roamer (from the album “Blood is Thicker Than Gold”) Time (Original song written by Jeff Black) Website www.mattsteady.com | Twitter @mattstoicsteady | Facebook @mattsteadymusic | To see behind the scenes videos, get songs before everyone else, and experience the music scene first hand consider becoming a patron to support Matt’s art: https://patreon.com/mattsteady   Concluding thought:  In space, what came earlier continues to underpin what follows ― Henri Lefebvre, The Production of Space -------------------------------------------------------------------------- Follow #PodernFamily #Podmosphere and #2PodsADay on Twitter and Facebook for the best in indie podcasts. Listen More. Listen Indie. -------------------------------------------------------------------------- If you enjoyed this episode, we strongly urge you to make a donation to the Gord Downie & Chanie Wenjack Fund and/or the National Centre for Truth and Reconciliation. Please help continue Gord's charitable & activist work. He left us with memories and a lifetime of music to enjoy. Helping the causes he cared about is the best way we can thank him now. https://www.downiewenjack.ca/ https://give.umanitoba.ca/nctr http://secretpath.ca/ Follow us on Twitter: @The_SIM_Pod and on Facebook @thesimpod Email us: semiintellectual@gmail.com Subscribe to the podcast: https://thesim.podbean.com/feed/ iTunes: https://goo.gl/gkAb6V Stitcher: https://goo.gl/PfiVWJ GooglePlay: https://goo.gl/uFszFq Corrections & Additions webpage: http://thesim.podbean.com/p/corrections-additional-stuff/ Please leave us a rating and a review, it really helps the show! Intro Music: Song "Soul Challenger" appearing on "Cullahnary School" by Cullah Available at: http://www.cullah.com Under CC BY SA license http://creativecommons.org/licenses/by-sa/4.0/ Semi-Intellectual Musings does not own any of the songs played in this episode. Follow links above for proper attribution.  

In a special episode of Living The Dream, Max and Natalie (@DrNatOsborne) join Jon (@JonPiccini) to discuss radical happenings in Brisbane of late. We talk about the election of Jonathon Sri in the Brisbane City Council elections of last year, why Brisbane is experiencing such a strong wave of ‘right to the city’ activism and how these two interconnect. Musings on the interconnections between social movements and elections, the global and the local and culture and politics abound. South Brisbane Greens - https://www.facebook.com/SouthBrisbaneGreens/ Right to the City Brisbane - https://www.facebook.com/righttothecitybrisbane/tactical urbanism - http://tacticalurbanismguide.com/ Warriors of the Aboriginal Resistance - https://www.facebook.com/WARcollective/ Jonathon Sri, Councillor for the Gabba - https://www.facebook.com/jonno.sri/Henri Lefebvre - https://chisineu.files.wordpress.com/2012/09/lefebvre-henri-writings-on-cities.pdf Music by the Mouldy Lovers - which was the painfully obvious choice.  

abermas and public sphere theory Welcome to Mere Rhetoric, a podcast for beginners and insiders about the ideas, people and movemnts who have shaped rhetorical history. special thanks to the rhetoric society of america student chatper at the university of texas at Austin.  I’m Mary Hedengren and today I’m joined by Laura Thain.   Have you spent much time thinking about coffee? If you’re a grad student, the answer is probably yes, but really do you spend much time thinking about what coffee did, especially coffee shops, especially in Europe? Coffee houses were an integral part of the Ottoman Empire in the late 15th century and they spread quickly throughout all of Europe. By the 17th century, coffeehouses, not taverns, were the places to gather in your neighborhood. And if you think about how caffeine-fueled coffeehouses differed from the sloppy drunkenness of taverns, it’s little surprise that coffeehouses quickly gained a reputation as being a place of open political and intellectual discussion. 15th century Ottomans and 20th century Seattleites alike saw the coffeeshop as a place to open up dangerous conversation. The Spanish king Charles II even tried to restrict coffee houses on the grounds that there were places where “the disaffected met and spread scandalous reports concerning the conduct of His Majesty and his Ministers” (qtd Times 23 Feb 2008). Gathering around a cup of Joe seemed to set everyone to riotous conversation, to the public discussion that led to revolutions in America and France in the 18th century, and because of this the coffeehouse became the place of obsession for 20th century philosopher Jurgen Habermas. Habermas noted an 18th century seachange in the relationship between people and sovereign. Earlier, people supported (or didn’t) their sovereign as a symbol for them: France is the king and the king is France, therefore it’s to the benefit of France for the king of France to be as rich and grand as possible, regardless of how this impacts the everyday peasant on the street. But in the 18th century, a rise in coffeehouses and the conversations they engender accompanied an increase in newspapers reading clubs, journals, salons and other groups of public political conversation. This Habermas calls the öffentlichkeit, or the public sphere. The public sphere was a dialogue, a conversation of opinions. “Is the king France? Should the king be France? Let’s hear the pros and cons, then!” Habermas drew a direct line between the increase of coffeehouses and their conversations and the toppling of the French monarchy. This public sphere isn’t a given and not every coffeehouse, town hall meeting etc. is going automatically be a public sphere. In fact, Habermas identified some of the identifying characteristics and requirements for a public sphere. 1-    First, the public sphere requires a temporary disregard of public status, according to Habermas. He believed in “a kind of social intercourse that, far from presupposing the equality of status, disregarded status altogether” () . It doesn’t work if only the princes of France get their say and the merchants don’t. Everyone needs a place at the coffee table.   In many ways, our conception of a “public sphere” as ordinary citizens in the US is so pervasive that we have trouble imagining a world without one.  But what Habermas points out is that before the birth of a public sphere in the eighteenth century, there was little linking the private sphere (the discourse of ordinary subjects of the sovereign) to the bureaucratic sphere (the discourse of the sovereign to his subjects).  Imagine if laws and edicts were all that existed to communicate between king and subject. Habermas argues that the public sphere emerged as a unique space for what were once private murmurings to have real and legitimate impact upon bureaucratic procedure under certain rhetorical constraints.  This was no pitchforks-and-barn-burning kind of conversation, but rather, the emergence of a new rhetorical practice that rapidly came to be dominated by a nascent middle class of people: the bourgeois.     2-    Talking about private and bureaucratic coming together is tricky, though.  “Private” doesn’t mean what we might think today.  In the public sphere, there needed to be some sort of common issue, a public issue of common concern. Before the emergence of a public sphere, according to Habermas, the kinds of things we think about as very public were private conversations among citizens, if they were articulated at all.  For instance, the question of whether France needs a king is a question that everyone in France is concerned about. The question of whether wine dealers in the northwest of Paris should ration a particularly good vintage is not. The question of whether Pierre ought to marry Margarite is definitely not. Often these common concerns were rarely discussed—they were given. The civic or religious authorities told the people that France needs a king and that’s that. Until the people begin sitting around in coffeehouses started asking the questions about things that they all had an interest in.   The idea that the coffee house became a new space for people who previously had no visible platform to communicate with existing power structures is really important because it signals the emergence of not just a new place to talk but a new center of institutional authority.  Habermas argues that the public sphere is an important and new site of power in the 18th century.  This might sound familiar to you if you’ve heard talk about “public discourse” in the things you read and discuss in your own life.  Public discourse and a space to have that discourse in is really important, but it’s important to understand how that space happened to read how we might read what the public sphere means as a concept today.   3-    Habermas argues that the public sphere is a public good, but in order to do so he claims that once-private-now-public issues had to be open for anyone to discuss. As Habermas said “The issues discussed became ‘general’ not merely in their significance, but also in their accessibility: everyone had to be able to participate” In coffee houses and salons, there were no rules about who was allowed to open their mouths.   The coffeehouse seems to fulfill these expectations, which is probably why Habermas was so keen on the example. But the coffeehouse wasn’t perfect and these imperfections highlight some of the problems of the public sphere in general. For instance, there were rules about who could get in the coffeehouse. While Germany made some exceptions for silent baristas, in France and Germany, women were personae non gratae in these vibrant spaces of public debate. It’s all very well to say coffeehouses were inclusive, except where they weren’t. And for that reason, Habermas’s dreamy ideal of the public sphere is seen by some as just a dream, a bourgeois dream that pretends to be inclusive but actually excludes voices of women and other minorities. The scholar who is mostly closely associated with a criticism of Habermas’s public sphere is American scholar Nancy Fraser. Nancy Fraser’s Rethinking the Public Sphere makes her three points about the public sphere to challenge Habermas’. While Habermas emphasizes disregard of public status, common issues and the freedom to open your mouth and speak, Fraser refutes these same points. When Habermas says that everyone is equal in the coffeehouse, Fraser contends that this is actually a “bracketing [of] inequalities of status” and far from removing these differences of status, “such bracketing usually works to the advantage of dominant groups in society and to the disadvantage of subordinates.” Instead of saying—inauthentically—that there is equality in the public sphere, Fraser recommends instead that we “unbracket inequalities in the sense of explicitly thematizing them.” Instead of saying that a prince and a merchant are the same in the coffeehouse, some of the conversation should be about the fact that they aren’t and why. Fraser also challenges the idea that there are common issues in the public sphere. She says that there “no naturally given … boundaries” between public issues (or “common concern”) and private ones. So remember the example about how the question of whether France needs a king being a public one while Pierre marrying Margarite is a private one? Well, what if the names were instead Louie XV and Marie of Poland? Is that a public issue or a private one? Fraser points out that many issues that were once personal issues like domestic abuse, have become public issues. As she says, "Eventually, after sustained discursive contestation we succeeded in making it a common concern". Finally, Fraser points out that not everyone is welcome to the table. Women were excluded everywhere—in clubs and associations—philanthropic, civic professional and cultural—was anything by accessible to everyone. On the contrary, it was the arena, the training ground and eventually the powerbase of a stratum of bourgeois men who were coming to see themselves as a ‘universal class’” The deception that such spheres were truly public justified the male, middle classes in making decisions that were for ‘all of France’ when, in actuality, hegemonic dominance had excluded many participants. Instead, Frase suggests that theses marginalized groups form their own public spheres, which she called Counterpublics. These counterpublics are “parallel discursive arenas where members of subordinated social groups invent and circulate counterdiscourses to formulate oppositional interpretations of their identities, interests, and needs"   Another site of vibrant research in public sphere theory is in the field of spatial rhetorics.  While Habermas arguably saw the public sphere as an ideological shift that just happened to be housed in Europe’s coffee house and salon culture, scholars like Henri LeFebvre, Edward Soja, David Fleming, and UT Austin’s own Casey Boyle are increasingly interested in talking about, to quote Dr. Boyle, “how spaces affect our shared practices and sense of identity.”  To these scholars, the coffee shop as a physical, embodied space is as important to the structural transformation of the public sphere as the folks who inhabited it.             So the next time you visit your favorite cafe and order yourself a hot beverage, think about what kind of public you’re a part of. What, if anything, do you have in common with the people around you? What are some power differentials between you? What “common concerns” do you have? And what do you think about the king of France?