The document discusses how architecture shapes habits of citizenship and civic participation. It argues that voting booths are designed to force focus on voting by isolating the voter. Additionally, the document examines how private voting became standardized through architectural changes in the 19th century. Finally, it explores how occupations of civic spaces and public monuments shape competing views of citizenship and can be sites to reform habits of civic engagement.
Cities and Urban Life: Globalization and the Modern Metropolis. (Urbanization)brunogiegerich
PowerPoint presentation on urbanization, urbanism (city) life and the metropolis in a globalizing world. Covers the rise of mega-cities and some sociological aspects of urban life; with many pictures, themes and key social theorists.
Cities and Urban Life: Globalization and the Modern Metropolis. (Urbanization)brunogiegerich
PowerPoint presentation on urbanization, urbanism (city) life and the metropolis in a globalizing world. Covers the rise of mega-cities and some sociological aspects of urban life; with many pictures, themes and key social theorists.
Muhammad Saud Kharal
PhD in Social Science,
Department of Sociology Faculty of Social and Political Sciences, Universitas Airlangga, Surabaya Indonesia
The Political Organisation of the Homeless in BrazilFEANTSA
Presentation given by Rosemeire Barboza da Silva, University of Coimbra, Portugal at a FEANTSA Research Conference on "Rethinking Homelessness Policies", Lisbon, Portugal, 2007
Muhammad Saud Kharal
PhD in Social Science,
Department of Sociology Faculty of Social and Political Sciences, Universitas Airlangga, Surabaya Indonesia
The Political Organisation of the Homeless in BrazilFEANTSA
Presentation given by Rosemeire Barboza da Silva, University of Coimbra, Portugal at a FEANTSA Research Conference on "Rethinking Homelessness Policies", Lisbon, Portugal, 2007
Slides to go with my lecture on virtual community as an on-going concern in American intellectual life. Tracks the concern from its beginning in Jeffersonian Republicanism to its manifestations in the technological euophorias that accompanied the popularization of a range of technologies (boat canals, railway, telegram, telephone, wireless, automobile, radio, internet, and web 2.0).
Art for change It is often taken for granted that art fBetseyCalderon89
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
Time in place: New genre public art a decade latercharlesrobb
An outline of the key ideas of Lacy, S. (2008). Time in place: New genre public art a decade later. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 18–32). Routledge. https://doi.org/10.4324/9780203926673
Art for change It is often taken for granted that art f.docxrossskuddershamus
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
Evidence Over Story: Assembly Over AlgorithmRick Prelinger
Talk presented by Rick Prelinger at Future Histories Lab, UC Berkeley, September 27, 2021. Other speaker: Savannah Wood, Afro Charities, Baltimore. Many of the slides include archival video clips, which are not shown in this version.
Mashak is my Final Graduation Project from Unitedworld Institute of Design. I worked under Please See, a boutique design company based in Mumbai. This project is based in packaging and branding design for Portside Cafe's new line of accessories.
Cross-disciplinary phase 2 project.
An interactive map of stories of pirates in the golden age of pirates.
Link:
https://xd.adobe.com/view/38fcb9e4-a683-41bc-7bd7-1bb88b07d2f5-4ecd/
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
The Legacy of Breton In A New Age by Master Terrance LindallBBaez1
Brave Destiny 2003 for the Future for Technocratic Surrealmageddon Destiny for Andre Breton Legacy in Agenda 21 Technocratic Great Reset for Prison Planet Earth Galactica! The Prophecy of the Surreal Blasphemous Desires from the Paradise Lost Governments!
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
The perfect Sundabet Slot mudah menang Promo new member Animated PDF for your conversation. Discover and Share the best GIFs on Tenor
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2. -Benjamin insists that studying how
Architecture shapes our perceptual modes
can teach us how the masses more broadly
learn to perceive and be—through repeated
use and the gradual accumulation, of habits.
3. -Citizenship is fundamentally a reletive
relationship, of one’s ability to participate
in the civic life of their locale.
-Architecture shapes the habits of both
perceiving and feeling citizenship.
4. -This essay, then, is an attempt
to marshal our attention to consider the
distracted and circuitous ways architecture
scripts our habits of citizenship
as well as various attempts to reshape
those habits using architecture.
5. -The voting booths are structures designed
to force its users to attain a certain amount
of focus—or to at least stage the appearance
of such—by quarantining us from the rest
of the world.Voting Booth belongs to the
physical infrastructure of citizenship.
6. - A- The process of voting - abstract form of intimacy
- Flimsiness of material would make you feel its
impermanency
- Serve to heighten the distinctiveness of the
occasion or mark its formal abnormality
measurable civic space
- The process of voting - abstract form of intimacy
- Flimsiness of material would make you feel its
impermanency
- Serve to heighten the distinctiveness of the
occasion or mark its formal abnormality
- Designed for those who can fit themselves into
measurable civic space
7. - A.- Before the second half of the nineteenth century:
noisy and viscerally public affair
- By the middle of the nineteenth century: a ballot
system ensconcing private voting
- In nineteenth-century Britain: private voting
“mass produced a new abstract space of privacy”
- Before the second half of the nineteenth century:
noisy and viscerally public affair
- By the middle of the nineteenth century: a ballot
system ensconcing private voting
- In nineteenth-century Britain: private voting
“mass produced a new abstract space of privacy”
8. - A.- In the Grip of Power
(Lonnie Holley)
- In the Grip of Power
(Lonnie Holley)
9. - A.- Relocate civic participation to the public square
and citizenship as a social act of collective
demand and public voice
- Physical occupations of civic space insist upon
the immediate presence of people in real space
- No matter how much we treat corporations like
people, they can’t physically occupy space
- Relocate civic participation to the public square
and redefine citizenship as a social act of collective
demand and public voice
- Physical occupations of civic space insist upon
the immediate presence of people in real space
- No matter how much we treat corporations like
people, they can’t physically occupy space
10. - A.- The Charlottesville protests (2017)
- Monuments are material instantiations of
competing fantasies of citizenship as well as
active sites for shaping its habits
- Memorialization—how we commemorate the
past—can never be fully untangled from how we
form habits in the present
- The Charlottesville protests (2017)
- Monuments are material instantiations of
competing fantasies of citizenship as well as
active sites for shaping its habits
- Memorialization—how we commemorate the
past—can never be fully untangled from how we
form habits in the present
11. - Occupation as a form of protest is an old
form indeed...look to the Poor People’s
March and accompanying occupation of
the National Mall during the winter and
spring of 1968 planned by Martin Luther
King Jr. and led by Ralph Abernathy
gathering a range of
economic justice.
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12. - A neighborhood is both an imagined
community and the product of everyday
routines often undertaken in varying states
of distraction within communal space.
- But like all scales of citizenship, the
neighborhood is organized by both
collectivity and exclusion
13. - Brown proposes we look closer at what
exists before leaping to remake or renew
neighborhoods—actions which have
historically helped to displace existing
residents rather than improve how they
live.
14. - Nations have used architecture to
demonstrate their strength and solidity
since the walled city-state.
- ...built environment holds the power
within it to reframe citizenship as a
practice of spatial, social, and perceptual
expansion that demands new forms of
attention.