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.

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 Discourses of Hindi film fandom and the confluence of the popular, the public, and the political

2020 ◽  
Vol 34 ◽  
Author(s):  
Sreya Mitra
Keyword(s):  
Social Media ◽  
Public Space ◽  
Digital Media ◽  
Social Networking Sites ◽  
Participatory Culture ◽  
Digital Platforms ◽  
The Public ◽  
New Type ◽  
Perceived Access ◽  
The Relationship

Indian fandom reconstituted as a more participatory culture with the emergence of online cyber communities in the late 1990s to early 2000s, a move accompanied by shifts in the Indian mediascape. With increasing synergy among film, television, and digital media, Bollywood stars were consequently remade as transmedia celebrities. Bollywood stars use digital media such as Twitter and Instagram for promotion and publicity, but such use has created a new type of Bollywood fan: the internet troll. As film personalities now actively engage with social media, incessantly tweeting and sharing pictures, the line has blurred between the reel and the real, the public and the private. Fans having perceived access to the private, off-screen personas of their film idols has further complicated both discourses of contemporary Bollywood stardom and fandom. Stars' and fan's engagement and interaction on social media reveals the so-called disrespectful troll to be not merely a more active participant but a fundamental reworking of the relationship between star and fan, which had been founded primarily on admiration and veneration. This reworking has provided a space for political mobilization in the Indian (online) public space offered by digital platforms and social networking sites.

scholarly journals Street art and mural art as visual activism in Durban : 2014 – 2017

2019 ◽  
Author(s):  
◽  
Daniel Chapman
Keyword(s):  
South Africa ◽  
Action Research ◽  
Public Space ◽  
South African ◽  
Living Environment ◽  
Street Art ◽  
Art Practice ◽  
The Public ◽  
African Cities ◽  
Mural Art

This research presents the theories pertaining to the real and imagined role of street art and mural art in current society, focusing on South Africa and Durban. This research also aims to improve my art practice by attempting to apply these theories. By investigating selected activist street and mural artists and movements, I have also aimed at learning from the work of those I admire. By extending my research beyond public two-dimensional art practice into the theories of African cities, cultural studies and white privilege, I have attempted to understand the socio-political factors involved in critical art making in the highly contested post-apartheid public space of Durban. I have discovered that my own belief in the value of street art and mural art in the public space, which this research aims to validate, does not appear to be encouraged or supported within the city of Durban, at large, which is reflected in a stunted street art and mural art culture. Within the context of post-apartheid Durban, a South African city in rapid transition environmentally, socially, economically and culturally, I would like to present street art and mural art as a pragmatic and effective means of cultural response. In this research a practice-based qualitative methodology was used. This is accompanied by theoretical research to contextualize and inform the art practice. The action research comprised of artwork produced in public spaces. Typically, this process involved identifying an ecological/social/political issue which is the artwork’s subject. The combination of practice- based and action research is the most suitable methodological approach for this study which essentially attempts to uncover knowledge pertaining to the function of mural art and street art in the world, more specifically in Durban. My findings show that the foremost function of street art and mural art appears to be the transformation of the public space into a more convivial living environment. The major strategies identified in the theoretical framework in attempting to initiate conviviality through street and mural art include site specificity and participation. Despite a history of attempting to democratize art in South Africa, post-apartheid contemporary society still suffers as a result of restricting the functionality of art by continuing to focus predominantly on the gallery and museum systems. I have found that mural and street art potentially align with the informal functioning of much of South Africa’s public space, encouraging an alternative to the western construction of public space. In conclusion, I argue that street art and mural art can be used as an effective transformative strategy to break down the invisible social barriers present in post-apartheid South African cities, by repurposing the physical barriers of walls.

scholarly journals A economia urbana e os artistas de rua: performance, mobilidades e conflitos em um espaço público turistificado

GeoTextos ◽  
2021 ◽  
Vol 17 (1) ◽  
Author(s):  
António Cláudio do Nascimento Silva ◽  
Daniel Paiva
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Urban Economy ◽  
The Public ◽  
Sensory Experiences ◽  
Historic Centre ◽  
Relationship Of ◽  
The Impact ◽  
The Relationship ◽  
The City

<p>Este artigo pretende refletir sobre a complexa relação entre os artistas de rua, as suas performances e o espaço urbano. Para esta reflexão, baseamo-nos num estudo desenvolvido na Baixa lisboeta, localizada no centro histórico da cidade de Lisboa, Portugal. Metodologicamente, o estudo implicou observação sombreada com recurso a caminhadas e à videografia entre 2016 e 2021, bem como um conjunto de 15 entrevistas realizadas a artistas de rua em 2018. Conceptualmente, o estudo recorre ao crescente corpo de bibliografia no âmbito da geografia sensorial e da etnomusicologia, nomeadamente em relação aos artistas de rua e às suas performances, e a sua intersecção com questões económicas, os aspetos da urbanidade, a influência do turismo e as experiências sensoriais. Os nossos resultados desvendam o processo de territorialização dos locais de performance na Baixa lisboeta, o impacto das performances artísticas no espaço público, e a relação dos artistas de rua com os agentes formais da economia urbana. Concluímos o artigo com uma breve reflexão sobre a importância do turismo para a expansão do busking.</p><p><span>Abstract</span></p><p>URBAN ECONOMY AND STREET ARTISTS: PERFORMANCE, MOBILITY, AND CONFLICT IN A TOURISTIFIED PUBLIC SPACE</p><p>This article reflects on the complex relationship between street artists, their performances and urban space. For this reflection, we draw upon a study conducted in the Baixa, located in the historic centre of the city of Lisbon, Portugal. Methodologically, the study involved shadowed observation, including walks and videography, which took place between 2016 and 2021, as well as a set of 15 interviews with street artists which were conducted in 2018. Conceptually, the study draws upon the growing body of works within the scope of sensory geography and ethnomusicology, namely regarding street artists and their performances, and their intersection with economic issues, aspects of urbanity, the influence of tourism and sensory experiences. Our results reveal the process of territorialization of performance sites in Lisbon’s Baixa, the impact of artistic performances in the public space, and the relationship of street artists with the formal agents of the urban economy. We conclude the article with a brief reflection on the significance of tourism for the expansion of busking.</p>

scholarly journals Accessibilità post-pandemia: riflessioni sullo spazio pubblico

2021 ◽  
Vol 19 (1) ◽  
pp. 242-255
Author(s):  
Giancarlo Gallitano ◽  
Manfredi Leone ◽  
Francesca Lotta
Keyword(s):  
Quality Of Life ◽  
Public Space ◽  
Urban Space ◽  
Well Being ◽  
Private Space ◽  
The Public ◽  
Urban Models ◽  
Green Areas ◽  
The Relationship

The correlation between the psycho-physical well-being of citizens and the provision of green areas has been one of the cornerstones of urban planning since its inception, as its constant commitment to adapt cities and territories to emerging challenges. The spread of SARS-Cov-2 has changed the relationship between citizens and urban space. The public space, has been limited and banned, confining citizens within their private space and the psycho-physical well-being of citizens depended only on the quality of the domestic space.The pandemic represents a moment of reflection and research for the disciplines that deal with the quality of life of citizens. The pandemic crisis may be an opportunity to rethink the role and importance of the provision of public space, in particular urban green areas, their distribution and effective accessibility. The contribution aims to rethink urban models capable of responding to the challenges of the post-pandemic city

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 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. 

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.

Reconceptualizing the Public Spaces of New Urban Areas in Hanoi: The End or the New of Public-Making?

2021 ◽  
Vol 12 (1) ◽  
Author(s):  
Minh-Tung Tran ◽  
◽  
Tien-Hau Phan ◽  
Ngoc-Huyen Chu ◽  
◽  
...  
Keyword(s):  
Public Space ◽  
Urban Areas ◽  
Public Spaces ◽  
The Public ◽  
Doi Moi ◽  
The World ◽  
Relationship Of ◽  
The Relationship ◽  
The City ◽  
Neighborhood Level

Public spaces are designed and managed in many different ways. In Hanoi, after the Doi moi policy in 1986, the transfer of the public spaces creation at the neighborhood-level to the private sector has prospered na-ture of public and added a large amount of public space for the city, directly impacting on citizen's daily life, creating a new trend, new concept of public spaces. This article looks forward to understanding the public spaces-making and operating in KDTMs (Khu Do Thi Moi - new urban areas) in Hanoi to answer the question of whether ‘socialization’/privatization of these public spaces will put an end to the urban public or the new means of public-making trend. Based on the comparison and literature review of studies in the world on public spaces privatization with domestic studies to see the differences in the Vietnamese context leading to differences in definitions and roles and the concept of public spaces in KDTMs of Hanoi. Through adducing and analyzing practical cases, the article also mentions the trends, the issues, the ways and the technologies of public-making and public-spaces-making in KDTMs of Hanoi. Win/loss and the relationship of the three most important influential actors in this process (municipality, KDTM owners, inhabitants/citizens) is also considered to reconceptualize the public spaces of KDTMs in Hanoi.

Związek publicznej obecności Kościoła w Polsce z preferencjami wyborczymi elektoratu w 2011 roku

1970 ◽  
Vol 23 (301) ◽  
pp. 72-92
Author(s):  
Karolina Dłuska
Keyword(s):  
Public Space ◽  
Catholic Church ◽  
Public Television ◽  
The Public ◽  
The Subject ◽  
The Individual ◽  
The Military ◽  
Religious Nature ◽  
The Relationship ◽  
The Catholic Church

The author of the article tries to indicate the relationship between the perceived presence of the Catholic Church in public life and the election preferences of Poles. The subject of the research here is the parliamentary elections in Poland in 2011 in the context of the perception by the electorate of the individual parties of the public presence of the Catholic Church in the selected aspects. Among them, the author points to: the issue of crosses and other religious symbols in public space, including the issue of a cross in the Sejm meeting room. She also recalls such matters as: religion lessons in schools, the religious nature of the military oath, priests appearing on public television, the Church taking a stand on laws passed by the Sejm and priests telling people how to vote in elections. The presented analysis is based on the results of the Polish General Election Study 2011.

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