Richard Sennett is a professor of sociology at New York University and the London School of Economics. Beginning in The Uses of Disorder (1970), and in subsequent books such as The Fall of Public Man (1977) and Authority (1980), he has used combined methods of ethnography, history, and social theory to examine the working class, the public realm, and the formation of identity in society. Turning to urban design and physical experience, he addressed the personal scale in The Corrosion of Character (1998), The Culture of New Capitalism (2006), The Craftsman (2008), and Together: The Rituals, Pleasures, and Politics of Cooperation (2012). This talk, on the theme of his next book, will describe open and closed systems in urban design and explore ways of practicing open design.
A arquitetura costumava tratar da criação de comunidades, e fazer o máximo de esforço para simbolizar aquelas comunidades. Desde o triunfo do mercado econômico no final da década de 1970, a arquitetura deixou de expressar os valores públicos e, ao invés disso, passou a expressar os valores do setor privado. Isso é de fato um regime - o regime ¥€$ - e ele invadiu todos os domínios, queiramos ou não. Esse regime teve um grande impacto nas cidades e no modo como compreendemos as cidades. Com segurança e proteção como argumentos de venda, a cidade se tornou muito menos aventureira e mais previsível. Para completar a situação, quando o mercado econômico ganhou força no final dos anos 1970, os arquitetos pararam de escrever manifestos....
As cidades contemporâneas foram expandidas pelas tecnologias digitais. Elas permitiram a ocupação de fachadas com telas e acesso, via aplicativos, a informações que vão do fluxo do trânsito ao mapeamento de remoções decorrentes de obras públicas. Se, ao longo dos anos 1990, os especialistas discutiam como apropriar-se das redes para tornar a cidade mais interativa, hoje, com a capilarização da tecnologia, a aposta é em como utilizá-las para interferir no cotidiano das cidades.
A discussão sobre “cidades inteligentes” cede, assim, espaço para a de cidadania, reinventando as formas de ocupar as ruas e as próprias noções de política urbana. Não se trata mais de apenas planejar e regrar o espaço coletivo, mas, sim, de como mobilizar para que essas regras sejam fluidas o suficiente para constituir e reconstituir o uso comum, conforme as necessidades do momento.
"From Richard Prince’s New Portraits exhibition at the Gagosian to high fashion brands like Moschino and Christian Cowan-Sanluis making mirrored hot pink iPhone cases and The Selfie Hat, respectively, the selfie was a thing of cultural fascination in 2014. This year, TIME Magazine released a map of the most “selfiest" cities in the world, the UK Electoral Commission ran a “Post No Selfies” campaign during their elections, and multiple identity fraud cases surroundedpeople accidentally posting selfies with their paychecks.
It was also the year of the #artselfie, seen through statues taking selfies, classical portraits taking selfies, Beyoncé and Jay Z taking one with the Mona Lisa, a student in Milan breaking a 19th Greco-Roman century statue in attempt to take a selfie, and ultimately, #artselfie a published book on the subject. All in all, the tech-assisted self-portrait had a big year in 2014.
After years of mediating our digital lives, Google is formally venturing into the physical world.
Earlier this month, Google announced it would be starting a new company, Sidewalk Labs, to invent and invest in “urban technologies” that will produce, according to its founder, “extraordinary business opportunities and opportunities for improving quality of life.” !?!?!?!?!?
The company has dabbled in urban planning for years, but this new investment seems to indicate those projects weren’t just for fun. As more people move to cities worldwide, the business of planning, innovating, and running those cities is poised to grow too—and it’s a model in which the “user” has no choice but to opt in.
Asistimos a una revolución fotográfica sin precedentes. Pero no es sólo cuestión de píxels. ¿Quién es hoy el fotógrafo? ¿Por qué hace las fotos? ¿Cuáles son sus usos o cómo se utilizan y circulan? Joan Fontcuberta reflexiona sobre estos interrogantes
Selfiecity investigates selfies using a mix of theoretic, artistic and quantitative methods:
We present our findings about the demographics of people taking selfies, their poses and expressions.Rich media visualizations (imageplots) assemble thousands of photos to reveal interesting patterns.The interactive selfiexploratory allows you to navigate the whole set of 3200 photos.Finally, theoretical essays discuss selfies in the history of photography, the functions of images in social media, and methods and dataset.
This essay discusses the post-photography statement in terms of its most important concepts: the author, poiesis as a prescription of meaning, recycling as artistic strategy, serendipity and art’s social and political struggle. Even sharing the fundamentals of Fontcuberta’s decalogue, it is necessary to underline that problems of overproduction cannot be actually solved. Something more is needed: a structural relationship with postmodern philosophical problems; a suppression of unrecognized modern aesthetic foundations; and a deeper analysis of the properties of digital media and technologies. Moreover, the photographic point of view is too narrow to grasp all the aesthetic consequences of the described artistic postmodern conditions. As a conclusion, some different hypotheses concerning uncommon theoretical and artistic practices are discussed.
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