scholarly journals Skypeography. Investigating and mapping the public mind space of urbaness

2018 ◽  
Vol 3 (1) ◽  
pp. 3-12
Author(s):  
Maggie McCormick
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Experimental Approach ◽  
Research Practice ◽  
Art Practice ◽  
Public Mind ◽  
Urban Public Space ◽  
The Public ◽  
Digital Space

‘Skypeography: investigating and mapping the public mind space of urbaness’ is an overview of the public space of Skype. This article discusses how mediation by screens is creating new urban concepts across an emerging new spatial geography and its new sociologies and cartographies. It begins by tracing an overview from perceptions of ‘city’ to experiences of ‘urbaness’ and explores the role of screens in creating a mobile state of being and a conceptualization of urban public space as transient and paradoxical mind space. The paper argues that an appropriate urban lexicon or cartographic recording is yet to be developed in relation to the public space of screens. In an increasingly visualized world, art practice has a significant role to play in exploring and mapping urban transience, movement, rhythm and paradox that forms a state of ‘urbaness’. This article explores the concept of ‘Skypeography’ through the methods and aesthetics of artistic screen research practice undertaken in the fluid space of the SkypeLab research project. Key to the research is the project to identify 100 Questions emerging out of the practice of SkypeLab. Through its experimental approach in digital space, SkypeLab poses and exposes questions arising out of the practice, about urban space itself. Through both answers and questions, SkypeLab and its ‘Skypeography’ method contribute valuable knowledge towards an understanding of new conceptual territory within a profoundly changing urbanscape.

scholarly journals Street Art y videojuegos: el caso de Invader

2020 ◽  
pp. 135
Author(s):  
Israel Márquez
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Video Game ◽  
Street Art ◽  
Artistic Identity ◽  
Art Practice ◽  
The Public ◽  
Digital Space ◽  
New Type ◽  
The Relationship

Resumen: El presente artículo analiza las relaciones entre street art y videojuegos como un ejemplo concreto de nueva práctica artística en el espacio urbano. Para ilustrar esta relación analizamos el proyecto artístico del artista urbano francés Invader, quien ha construido su identidad artística a partir de la apropiación material de los famosos personajes del videojuego Space Invaders y su traslado del espacio digital de la pantalla al espacio público de la calle.Abstract: The article analyzes the relationship between street art and video games as a new type of art practice in urban space. To illustrate this relationship, we analyze the work of the French street artist known as Invade. This artist has appropriated the characters from Space Invaders classic video game to build his artistic identity, transferring them from the digital space of the screen to the public space of the street.

Analysis on Building Readable Image of Urban Public Spaces

2013 ◽  
Vol 409-410 ◽  
pp. 883-886
Author(s):  
Bo Xuan Zhao ◽  
Cong Ling Meng
Keyword(s):  
New York ◽  
Public Space ◽  
Urban Space ◽  
Public Spaces ◽  
Urban Life ◽  
Space Images ◽  
Urban Public Space ◽  
Good Image ◽  
The Public ◽  
The City

City, is consisting of a series continuous or intermittent public space images, and every image for each of our people living in the city is varied: may be as awesome as forbidden city Meridian Gate, like Piazza San Marco as a cordial and pleasant space and might also be like Manhattan district of New York, which makes people excited and enthusiastic. To see why, people have different feelings because the public urban space ultimately belongs to democratic public space, people live and have emotions in it. In such domain, people can not only be liberated, free to enjoy the pleasures of urban public space, but also enjoy urban life which is brought by the city's charm through highlighting the vitality of the city with humanism atmosphere. To a conclusion, no matter how ordinary the city is, a good image of urban space can also bring people pleasure.

scholarly journals The Transformation of Urban Public Space of Post-Soviet Yerevan

2020 ◽  
Vol 11 (1 (31)) ◽  
pp. 3-15
Author(s):  
Harutyun Vermishyan ◽  
Srbuhi Michikyan
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Social Transformation ◽  
Structural Elements ◽  
Urban Public Space ◽  
Administrative Records ◽  
The Public ◽  
Spatial Practice ◽  
Space Production ◽  
Depth Interviews

The aim of this study is to diagnose the transformation of the structure of the public space of the Northern Avenue of Yerevan. The theoretical basis of this research is A. Lefebvre's theory of space production. The spatial triad (representations of space, representative space and spatial practice) by A. Lefebvre was used to identify the codes of social transformation of the public space of the Northern Avenue. The study was carried out using a tool developed within the framework of the methodology of narrative semiotics, which made it possible to identify the structural elements of the Northern Avenue, reflected in public experience. Methods used include observation, content analysis and traditional analysis of archival / administrative records and in-depth interviews with key informants. Diagnostics of the structure of the public space of Northern Avenue demonstrates the peculiarities of the formation of public space and the ideological transformations of the urban space of post-Soviet Yerevan.

scholarly journals EPHEMERAL ARCHITECTURE - A PROPOSAL FOR INTERVENTIONS IN PUBLIC SPACE

2020 ◽  
pp. 163
Author(s):  
Sanja Janković ◽  
Danica Stanković
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Social Contact ◽  
Empty Space ◽  
Physical Structure ◽  
Constant Sign ◽  
The Public ◽  
City Space ◽  
The City

Most certainly, architectural objectives are the basis of the physical structure of a city, yet they are distinct morphological and typological units, they are free spaces with exceptional values and characteristics. Buildings that form the spaces of cities often change, build and disintegrate, but the permanent motive of the city space remains - an empty, unfinished part, as a constant sign of history. On the hierarchical scale of the urban environment, important elements are ephemeral structures, permanent or temporary. A possibility for empty space to be revived is the installation of artistic or ephemeral utilitarian structures. This paper presents the role of such micro-urban interventions that enrich the public space and contribute to its revitalization. Ephemeral architecture is especially suitable as a space for the presentation of artistic ideas and for incorporating new technological contents. The aim of the paper is to highlight a view about the importance of ephemeral structures by analyzing and studying the case studies. Special emphasis is placed on examples of completed projects of the pavilions of unique forms and the use of ship containers as a space for introducing artistic ideas. The main contribution of this paper should be a proposal of using ephemeral structures in urban space revival by promoting art and establishing a social contact.

scholarly journals Studio_ L28: From a Socially Engaged Sound Art Practice to an Open Training Ground for Sonic Design Experimentation

2019 ◽  
Vol 64 ◽  
pp. 02004
Author(s):  
Caroline Claus ◽  
Burak Pak
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Sound Art ◽  
Art Practice ◽  
Spatial Politics ◽  
Urban Architecture ◽  
Vibrational Dynamics ◽  
The Public ◽  
Spatial Practice ◽  
Planning Processes

This paper reflects the preliminary findings of a PhD research on the spatial politics and potentials of noise and vibration, and the affective or attractive and repulsive power of sonic force. We focus on the public space of a railway area in transformation in Brussels, where sonic conflicts are prevalent. To explore the affordances of a sonic urbanism as critical spatial practice and thus to break free from prevailing modes of urbanism which focus on sonic risk and vibrational nuisance − we constitute a working practice exploiting and nurturing the productive encounters between disciplines such as sound art, urbanism and urban architecture. By setting up an experimental design studio at the KU Leuven Faculty of Architecture, embedded in local auditory culture and in connection to ongoing planning processes, we aimed to facilitate an open learning ground for sonic design experimentation in the development of innovative sonic spatial tools and approaches. The studio was oriented to students of the International Master in Architecture summoned to research the multiple (sonic) vibrations of the L28 railway area, to exploit and contrast these vibrational forces, transforming them to into actions and opportunities. From a critical sonic understanding of urban space, students played and explored a contradictory role compared to the widespread noise control practices, reformulated environments, perimeters and relations of urban phenomena and searched for interactivity with vibrational dynamics that already exist in the territory.

scholarly journals Urban Connective Action: The Case of Events Hosted in Public Space

2020 ◽  
Vol 5 (4) ◽  
pp. 252-266
Author(s):  
David McGillivray ◽  
Severin Guillard ◽  
Emma Reid
Keyword(s):  
Public Space ◽  
Digital Media ◽  
Urban Space ◽  
Public Spaces ◽  
Urban Public Space ◽  
The Past ◽  
Twitter Data ◽  
New Public ◽  
Connective Action

In the past decade, significant transformations have influenced the governance of urban public spaces. There has also been a growth in new public spheres associated with digital media networks, informing and influencing the production and regulation of urban space. In this article, we explore the role of digital and social media as a form of connective action supporting public campaigns about the privatisation and erosion of public space in the Scottish city of Edinburgh. We draw on analysis of Twitter data, interviews and observations of offline events to illustrate how a broad coalition of actors utilise online and offline tactics to contest the takeover of public space, confirming that that the virtual and the physical are not parallel realms but continuously intersecting social realities. Finally, we reflect on the extent to which digital media-enabled connective action can influence the orientation of urban controversies debates and lead to material change in the way urban public space is managed and regulated.

scholarly journals VISUAL STREET ART: MESSAGES OF RIGA STENCIL GRAFFITI

2020 ◽  
Vol 5 ◽  
pp. 694
Author(s):  
Normunds Kozlovs ◽  
Ilva Skulte
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Civil Disobedience ◽  
Street Art ◽  
Social Semiotics ◽  
Urban Public Space ◽  
Illegal Activity ◽  
The Public ◽  
Political Ideas ◽  
The City

The modern urban space is inevitably the site of different striking messages from advertisement to graffiti. The last are used as an alternative medium of subculture, even if majority of the public fails to notice it or else interprets it, contrary to culture’s ordered world of meanings, as chaotic “dirt” more closely related to nature than culture. The discourse of messages found in the public space - on the façades of surfaces forming urban space, can be interpreted in a countercultural code and is for the subculture of graffiti itself, a battle taking place for the aesthetization of the public space. This is the answer provided by the rebellious sons to the “fathers of the city”, who possess money and power with which to design urban public space using architectural means. The generation of sons, who are excluded from this real estate discourse due to a lack of means, put into play the only thing they own, i.e. their body, which they subject to the danger of imprisonment, because graffiti is an illegal activity, which in legal terms is interpreted as vandalism, a view that also prevails within the mass media. In this paper we analyze the meaning of visual messages of Riga stencil graffiti using social semiotics' methodology (Kress & Leewen, 1996; Jewitt & Oyama, 2004). We find that the utilization of the street as an alternative and independent medium in the form of civil disobedience manifested through the translation of radical political ideas, thus to a certain extent performing the work of propaganda, is an example of creative idealism. 

scholarly journals Intervention and renewal − Interpretation of installation art in urban public space

2021 ◽  
Author(s):  
Honghao He ◽  
Mengyang Wu ◽  
Janos Gyergyak
Keyword(s):  
Public Space ◽  
Urban Renewal ◽  
Urban Space ◽  
Installation Art ◽  
Urban Public Space ◽  
The People ◽  
Development Context ◽  
Art Intervention ◽  
The Relationship

AbstractThe manifestation of installation art is becoming more and more diversified and closer to the people in the urban public space. It forms an interactive environment with the urban space. This article discusses the relationship between installation art and urban renewal from the perspective of art intervention in urban public spaces. Through the observation, investigation and case analysis of installation art in the city, above all, it summarizes the development context of installation art, then elaborates the intervention strategies and characteristics of installation art in urban public space, analyzes the role of installation art in urban public space, and finally summarizes the value of installation art to urban renewal.

Komunistki

2020 ◽  
pp. 671-692
Author(s):  
Aga Skrodzka
Keyword(s):  
Public Space ◽  
Visual Memory ◽  
Women's Movement ◽  
Women’S Rights ◽  
The Public ◽  
The Status ◽  
The Commons ◽  
Communist Past ◽  
Status Of Women

This article argues for the importance of preserving the visual memory of female communist agency in today’s Poland, at the time when the nation’s relationship to its communist past is being forcefully rearticulated with the help of the controversial Decommunization Act, which affects the public space of the commons. The wholesale criminalization of communism by the ruling conservative forces spurred a wave of historical and symbolic revisions that undermine the legacy of the communist women’s movement, contributing to the continued erosion of women’s rights in Poland. By looking at recent cinema and its treatment of female communists as well as the newly published accounts of the communist women’s movement provided by feminist historians and sociologists, the project sheds light on current cultural debates that address the status of women in postcommunist Poland and the role of leftist legacy in such debates.

Mocking Parades and the Place of Pagan Statuary in Late Antique Alexandria

2020 ◽  
Vol 24 (2) ◽  
pp. 270-288
Author(s):  
Jonathan Stutz
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Religious Communities ◽  
Late Antique ◽  
Mob Violence ◽  
Visual Contact ◽  
The Public ◽  
Sacred Objects ◽  
The One ◽  
The City

AbstractWith the present paper I would like to discuss a particular form of procession which we may term mocking parades, a collective ritual aimed at ridiculing cultic objects from competing religious communities. The cases presented here are contextualized within incidents of pagan/Christian violence in Alexandria between the 4th and 5th centuries, entailing in one case the destruction of the Serapeum and in another the pillaging of the Isis shrine at Menouthis on the outskirts of Alexandria. As the literary accounts on these events suggest, such collective forms of mockery played an important role in the context of mob violence in general and of violence against sacred objects in particular. However, while historiographical and hagiographical sources from the period suggest that pagan statues underwent systematic destruction and mutilation, we can infer from the archaeological evidence a vast range of uses and re-adaptation of pagan statuary in the urban space, assuming among other functions that of decorating public spaces. I would like to build on the thesis that the parading of sacred images played a prominent role in the discourse on the value of pagan statuary in the public space. On the one hand, the statues carried through the streets became themselves objects of mockery and violence, involving the population of the city in a collective ritual of exorcism. On the other hand, the images paraded in the mocking parades could also become a means through which the urban space could become subject to new interpretations. Entering in visual contact with the still visible vestiges of the pagan past, with the temples and the statuary of the city, the “image of the city” became affected itself by the images paraded through the streets, as though to remind the inhabitants that the still-visible elements of Alexandria’s pagan topography now stood as defeated witnesses to Christianity’s victory.

Sign in / Sign up

Export Citation Format

Share Document