Il Cinodromo Meridiana a Barcellona: 1961-2010

TERRITORIO ◽  
2012 ◽  
pp. 116-122
Author(s):  
Roig Xavier Monteys ◽  
Gianluca Burgio
Keyword(s):  
Public Space ◽  
Plane Surface ◽  
Steel Beams ◽  
Optical Effect ◽  
Repair Work ◽  
The Public ◽  
Modern Period ◽  
Original Works ◽  
As If ◽  
The Way

The Meridiana greyhound track is one of the most original works of architecture of the ‘second' Spanish modern period. Its particular nature lies in the form of the roof and the structural conception which resolves the spatial idea of the building. The way the steel beams fan out, the variation in the slope of the lower wings and the curve of the façade onto the street generate a spectacular play of perspectives. The view towards the track is in fact the result of an optical effect produced by the cross panels of the brise-soleil, which appear, when seen, as if drawn on a plane surface. The objective of the ‘repair' work was to restore the spatial significance to the building which it had originally, posing the problem of converting the terraces into a large open balcony over the public space of the old track and its new use as an art centre.

scholarly journals Shocking Intimacy: Techniques, Technologies, and Aesthetics of Amplification in Clara Iannotta’s “Intent on Resurrection”

2021 ◽  
Vol 1 (2) ◽  
Author(s):  
Giulia Accornero
Keyword(s):  
Public Sphere ◽  
Public Space ◽  
Roland Barthes ◽  
Concert Hall ◽  
The Public ◽  
Low Strength ◽  
Technological Means ◽  
The Way

“Certain sounds, even when they are loud or heard from close by, conjure small sources.” Small sounds, as Chion (2016) describes them in this quote, usually appear in intimate or contained settings, where their relatively low strength will not be spoiled by the masking effects of a noisy public sphere. What happens, however, when they are shared with an audience in a concert venue? Privileging a distributive understanding of agency, I explore the interactions of instruments, techniques, and processes through which the composer Clara Iannotta (b. 1983) brings small sounds to the public space of the concert hall in the first minute of her composition Intent on Resurrection – Spring or Some Such Thing (2014). By articulating the technological means harnessed to allow for the qualities of small sounds to emerge, I reveal the conditions that are required for sound to be recognized and experienced as intimate. Along the way, I draw connections between the amplification aesthetics of Iannotta’s work and Hyperrealist art, and theorize the concept of the “grain of the instrument” drawing on ideas from Roland Barthes, Pierre Schaeffer, and Brian Kane.

The Society of the Digital Swarm

2019 ◽  
pp. 95-110
Author(s):  
Daniel Toscano López
Keyword(s):  
Public Space ◽  
Arab Spring ◽  
Digital Communication ◽  
The Political ◽  
Political Regimes ◽  
The Public ◽  
Political Economic ◽  
The Arab Spring ◽  
Reality Principle ◽  
The Way

This chapter seeks to show how the society of the digital swarm we live in has changed the way individuals behave to the point that we have become Homo digitalis. These changes occur with information privatization, meaning that not only are we passive consumers, but we are also producers and issuers of digital communication. The overarching argument of this reflection is the disappearance of the “reality principle” in the political, economic, and social spheres. This text highlights that the loss of the reality principle is the effect of microblogging as a digital practice, the uses of which can either impoverish the space of people's experience to undermine the public space or achieve the mobilization of citizens against of the censorship of the traditional means of communication by authoritarian political regimes, such as the case of the Arab Spring in 2011.

scholarly journals The Volhynian mass murders of 1943 in Polish-Ukrainian historical discussions in the 1990s

2021 ◽  
Vol 4 ◽  
pp. 65-72
Author(s):  
Tetiana Banakh
Keyword(s):  
Public Space ◽  
20Th Century ◽  
Polish Population ◽  
National History ◽  
The Public ◽  
The Press ◽  
Mass Murders ◽  
The Relationship ◽  
The Way

The article analyzes the first public discussions of the last decade of the 20th century about mass murders of Polish population in Volhynia in 1943. The author explores the emergence of the topic of “Volhynia” in the public space and Polish-Ukrainian historical debates about these mass murders in the 1990s. The research is based on the published sources and interviews with the participants in the Polish-Ukrainian dialog. The article focuses on the first mentions of the Volhynian events in the post-communist period, on the way this issue was discussed at seminars of Polish and Ukrainian historians, and in the leading Polish newspapers “Gazeta Wyborcza” and “Rzeczpospolita”. Particular attention is paid to the discussion about the mass murders in the “Gazeta Wyborcza” in 1995. The Volhynian issue appeared in the public space after almost fifty years of silence initiated from the Polish “kres” and veteran circles which represented the victims of the mass murders. This topic was arousing interest gradually. It did not immediately take a lead- ing place in Polish-Ukrainian historical debates. In the 1990s, the discussion about “Volhynia” took place primarily between historians and within the groups to which this topic was important. There was only one discussion about the Volhynian events in the press, namely in the “Gazeta Wyborcza”. This newspaper, which appeared as an organ of Solidarity, pays attention especially to the relationship between Poland and its neighbours, particularly Ukraine. In the Ukrainian central media, the Volhynian issue remained completely without attention. Although the debates about “Volhynia” were not actively conducted in the 1990s, certain tendencies were established during this period, which remained characteristic in the following years. In Poland, these events were perceived as one of the most traumatic episodes of the national history, so it was the Polish side who initiated the discussions about this topic. The Ukrainian side was forced to respond to these initiatives.

An Exploratory Look at the Growth and Success of Crowdfunding in the Public Space

2019 ◽  
Vol 51 (3) ◽  
pp. 187-196
Author(s):  
Martin Mayer
Keyword(s):  
Local Government ◽  
Public Space ◽  
Information Exchange ◽  
New Technologies ◽  
New Technology ◽  
Digital Age ◽  
The Public ◽  
The Way

The digital age has changed the way we consume information and left organizations struggling to adapt to new technologies and information exchange mechanisms. Civic crowdfunding is one such new technology that has the potential to redefine what local government means from an individual and administrative perspective, but there remains little knowledge about what it is and where it fits in the public space. This research attempts to unravel these questions by providing an overview of the field of civic crowdfunding and explaining what types of projects are undertaken, what projects are successfully funded, and what factors lead to successful projects.

Visibility

Stage rights! ◽  
2018 ◽  
pp. 82-106
Author(s):  
Naomi Paxton
Keyword(s):  
Collective Action ◽  
Public Space ◽  
Public And Private ◽  
The Public ◽  
Suffrage Movement ◽  
New Perspective ◽  
The Way

This chapter explores how members of the Actresses' Franchise League displayed their support for the suffrage movement in public space, and how such displays were an important and highly visible public and private strategy that encouraged collective action and activism and saw League members campaign directly on the streets, particularly through processions and the selling of suffrage newspapers. The plays and articles that emerged as part of this visibility give a new perspective on how actresses interacted with the public and how they reflected upon it themselves, and this chapter looks in detail at how interactions between the public and suffragists were absorbed into the performative strategies of the campaign, both on stage and in print. This chapter also details the way the theatrical newspaper the Era represented the campaign and the League to its readership.

scholarly journals Transformation of Communist Media Content and Public Space According to the Discourse ‘39Pact: Exiting the “Labyrinth” as an Act of Communication

2020 ◽  
Vol 90 ◽  
pp. 53-79
Author(s):  
Andrius Vaišnys
Keyword(s):  
Public Space ◽  
Political Communication ◽  
Western Europe ◽  
Communicative Action ◽  
Self Awareness ◽  
Underground Press ◽  
The Public ◽  
Information Conflict ◽  
Historical Truth ◽  
The Way

This text is about one of the longest processes of political communication, which, decades on, influences politicians of various generations of the Central, Eastern and Western Europe, contents of media and self-awareness of the audience. The process isn’t over yet, this is obvious not only from the document adopted by the EP but also from an international political rhetoric. Analysis of consequences of the Molotov-Ribbentrop Pact signed on 1939 in media (D’39Pact) and related national and international decisions is the axis of information conflict between the East and the West concerning thousands of fates. Those thousands of people had and still have different historical narratives – some people justified the Pact and implemented it, others were fighting for the elimination of its consequences, yet others fell victims to it, with a death toll estimated in the millions. But not everybody’s narratives are based on true arguments.Let’s look at the way the system of propaganda collapsed and the public opinion was transformed in countries of Central and Eastern Europe in 1988-1989. Moving from a lie to (hopefully) the historical truth. Review of consequences of the Molotov-Ribbentrop Pact was the main axis of such transformation (protection of environmental and cultural valuables, choice of one’s viewpoint, legislative requirements and other rights were contextual aspects of this axis). During this period in the previously mentioned region the control of public space was on the decline.This view will be based on a single thematic discourse: the provision of consequences of the 1939 Treaty of Non-aggression between Germany and the Union of Soviet Socialist Republics and criticism in communist model media of Lithuania and neighbouring countries. It may be called D’39Pact.D‘39Pact in general has several narratives (it may also be seen from the EP Resolution), but taking into consideration the interpretation of Jurgen Habermas’s Communicative Action, the analysis of transformation of 1988-1989 two of them would suffice, one of which is that of the authorities of the USSR and the other one – that of its opponents. Let’s call opponents USSR dissidents, protestors, underground press (samizdat) and press of public movements which was published legally.Narrative of the USSR authorities: the treaty was the inevitable and no annexes (secret protocols) exist.Narrative of the opponents: based on secret protocols of the treaty, the USSR and Nazi Germany divided the countries and destroyed their political, military, cultural elite and finally – their population of various social layers.Medias, as the main participant of the public space, most clearly disclose the collision of such narratives and transformation in D‘39Pact. The purpose of the article is to discuss the circumstances of transformation of MMPT from the historical perspective and of the public space and come across the factors, which influenced the strongest role of MMPT interpretative accomplishments. Considering the way out of the “labyrinth” regarding the D’39 Pact, we see some similarities with the situation that now exists in Russia.

Expanding Religion and Islamic Morality in Turkey

2018 ◽  
Vol 13 (2) ◽  
pp. 43-60 ◽  
Author(s):  
Chiara Maritato
Keyword(s):  
Public Space ◽  
Public Morality ◽  
The Public ◽  
Women Preachers ◽  
Ethnographic Observation ◽  
The Way

Despite scholars’ tremendous interest in the dynamics of Turkish laicism, little to no attention has been paid to the actors and the practices through which Islamic morality is propagated among society every day. This article investigates the Directorate of Religious Affairs (Diyanet)’s policy that has been increasing the number of women working as preachers since 2003. To what extent and how does the employment of the Diyanet’s women preachers affect the way in which religion and Islamic public morality grow and are spread in Turkey today? What specifically is women’s contribution in this respect? Drawing on an ethnographic observation of the Diyanet’s women preachers’ activities in Istanbul mosques, the article outlines how they contribute to reshaping Turkish laicism while diffusing Islamic morality in the public space.

(Dis)placed interventions: Spanningen tussen common en publieke ruimtes

Forum+ ◽  
2018 ◽  
Vol 25 (2) ◽  
pp. 25-35
Author(s):  
Elly Van Eeghem
Keyword(s):  
Public Space ◽  
The Public ◽  
The Past ◽  
Urban Districts ◽  
Local Residents ◽  
Selection Of ◽  
The Way

Sinds 2012 richt kunstenaar Elly Van Eeghem haar blik en lens op hoe steden veranderen. In de voorbije zes jaar werkte ze in verschillende stadswijken in Parijs, Berlijn, Montreal en Gent. Ze gebruikte foto- en video-opnames, acties in de publieke ruimte en archiefbeelden om collectieve interventies met lokale buurtbewoners op gang te brengen. Momenteel werkt ze aan een boek en een documentaire podiumvoorstelling als slot van dit project. Voor de beeldkatern van FORUM+ maakte ze een selectie uit archiefbeelden, verzameld tijdens binnen- en buitenlandse residenties.Since 2012 the artist Elly Van Eeghem has directed her gaze and lens at the way towns change. During the past six years she has worked in various urban districts in Paris, Berlin, Montreal and Ghent. She uses photography and video, actions in the public space and archive images in order to kickstart collective interventions with local residents. At present she is working on a book and a documentary stage presentation as the crowning piece of this project. She has made a selection of archive images collected during her residences both in Belgium and abroad for the picture supplement of FORUM+.

From tweets to graffiti: ‘I am Charlie’ as a ‘writing event’

2019 ◽  
Vol 12 (2) ◽  
pp. 171-186
Author(s):  
Maëlle Bazin
Keyword(s):  
Social Networks ◽  
Public Space ◽  
Terrorist Attacks ◽  
Local Authorities ◽  
Urban Public Space ◽  
The Public ◽  
The World ◽  
The Media ◽  
The Way

Any visitor who walked the streets of Paris in the days or weeks following the attacks of January 2015 would definitely have witnessed a particular form of graphic irruption: the dissemination of messages of solidarity and mourning, and the repetition, within this mass of writing, of the formula ‘I am Charlie’. Although the situation was different, the responses to terrorist attacks in January 2015 and the 9/11 aftermath are comparable by the ‘writing event’ (Fraenkel, 2002, 2018) they produced: temporary and atypical dispositifs of writing turned to the public space in order to be read or at least seen by passers-by. This article, structured along chronological lines, traces the evolution of the viral formula over the long term from Twitter to the urban public space. Firstly, the author focuses on the origin and meanings of the statement and formulates several hypotheses that may explain its wide circulation on social networks. Secondly, she analyses the post-attack graffiti based on databases of several private graffiti-cleaning companies in order to highlight the temporary sacralization of illegal writings. The ‘ Je suis Charlie’ phenomenon is interesting in many ways: its staggering, massive diffusion; the apparent unanimity with which it was greeted in the world of politics and the media; and the way it was managed by local authorities.

scholarly journals Nuevas prácticas tanatológicas y la emergencia del modelo neo-moderno de la muerte

2019 ◽  
Author(s):  
José Antonio Cerrillo Vidal
Keyword(s):  
Public Space ◽  
Death And Dying ◽  
Future Trends ◽  
Cultural Products ◽  
New Model ◽  
The Public ◽  
Common Thread ◽  
Traditional Communities ◽  
The Way

Frente a los grandes rituales colectivos y el sentido trascendente que le otorgaban las comunidades tradicionales, la Modernidad habría reducido la muerte al silencio y convertido el morir en un proceso solitario e institucionalizado. No obstante, en las últimas décadas un nuevo modelo de la muerte podría estar emergiendo en nuestras sociedades: el modelo neo-moderno, pues no cuestiona el papel central del sistema sanitario en la gestión de la muerte, pero trata de corregir los huecos que este no ha satisfecho. La muerte, así, volvería paulatinamente al espacio público, pero de forma fragmentaria y descentralizada, como un conjunto de prácticas y discursos dispersos que tendrían en común un renovado interés en hablar de la muerte y el morir. En este artículo me propongo comprobar la posible presencia del modelo neo-moderno de la muerte en una serie de productos y prácticas culturales muy diferentes. Discutiré si, en efecto, todas ellas tienen un hilo común en el modelo neo-moderno o si, como afirman otros autores, son más bien producto de la tendencia a la hipertransparencia mediática y la búsqueda de sensaciones fuertes propios de la sociedad consumista. Asimismo, examino algunas críticas formuladas al modelo y sus contradicciones internas. Concluyo tratando de anticipar tendencias futuras en el modo de morir a la luz de la evidencia presentada.Opposite to the great collective rituals and the transcendent meaning granted by traditional communities, Modernity would have reduced death to silence and transformed the act of dying into a solitary and institutionalized process. Nevertheless, in the last decades a new model of death could be emerging in our societies: the neo-modern model, since it doesn't question the central role of the sanitary system in the management of death, but tries to correct the gaps that the latter didn't achive to satisfy. Death would thus gradually return to the public space, but in a fragmented and decentralized way, as a set of scattered practices and discourses that would have in common a renewed interest in talking about death and dying. In this article I intend to verify the possible presence of the neo-modern model of death in a series of very different cultural products and practices. I will discuss whether all of them have a common thread in the neo-modern model or if, as other authors claim, they are rather a product of the tendency towards media hyper-transparency and the search for strong sensations typical of the consumerist society. I also examine some criticisms to the model and its internal contradictions. I conclude by trying to anticipate future trends in the way of dying in light of the evidence presented.

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