Search results for ""Public Space""

'Best of Austria' is edited biennially by Architekturzentrum Wien Az W to present award-winning buildings by Austrian architects and projects by foreign architects realised in Austria. Covered are all architecture prizes that have been awarded by public and private institutions or corporations in Austria. Thus each edition provides an up-to-date survey of contemporary architecture and building culture in Austria. The new 2010/11 edition presents around 160 projects, each with around 3 images and a floor plan, section or elevation as well as short introductory texts. Included are projects by such renowned Austrian firms as Baumschlager Eberle, COOP HIMMELB(L)AU, Delugan Meissl Associated Architects, Hermann & Valentiny and Associates. Also featrured are important international offices such as David Chipperfield Architects, London, or UNStudio, Amsterdam. The documented buildings are arranged in 15 sections: Living (multi-unit residential architecture), Tourism, Leisure, Culture, Single-family House, Industry, Trade, Commerce, Public Space, Infrastructure, Education, Public Buildings, Office, Administration and Actors (persons, institutions, towns or boroughs etc. that have been awarded prizes). Previous editions of 'Best of Austria' covered the periods 2006/07 (published 2008), 2008/09 (2010) and were published by Austrian publishers. The new 2010/11 edition is the first to be published by Park Books for Az W. Text in English & German.

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Theodore Abu Qurrah (c.750-c.825) was an intellectual heir of St. John of Damascus. Both became monks of Mar Sabas monastery in the Judean desert. Whereas John of Damascus was prominent among the generations of Greek writers in the Holy Land in early Islamic times, Theodore Abu Qurrah was the first Orthodox scholar whose name we know regularly to write Christian theology in Arabic. He spoke and wrote the Arabic language at a time when it was just becoming the cultural language of classical Islamic civilization, as well as the lingua sacra of the Qu'ran and of the new world religion. He was among the first Christians to exploit the apologetic potential of the new Arabic medium of public discourse. Abu Qurrah's Arabic tract in defense of the veneration of the holy icons was a response to the problem of the public veneration of the symbols of Christianity in an Islamic environment in which the caliph's policies since the time of 'Abd al-Malik (685-705) had been to claim the public space for Islam. In this treatise one finds arguments once expounded by earlier Greek writers, now deployed to meet the needs of a new generation of Arabic-speaking Christians, who were more evidently in contact and debate with Muslims.

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Upon his arrival in New York in the 1960s, Istanbul-born artist Burhan Doğançay (1929–2013) became deeply fascinated by the visual aesthetics of urban walls and murals. His interest focused on exploring public space and its significance as a forum for the debate of social and political as well as artistic norms. He continuously sketched and photographed walls and doorways, transferring many of the captured motifs into paintings. Over more than four decades, Doğançay compiled a vast body of photographic testimonials of urban life and discourse which he titled Walls of the World: a unique archive comprising some 30,000 images from 114 countries. This bilingual French–German book features a selection of Doğançay’s paintings and photographs from various series within the entire Walls of the World collection. The pictures — like the walls themselves — are the result of superimposed layers and techniques. Through this use of different painting and collage techniques, they reflect the temporal dimension of these surfaces with the scribbles, posters, scraps, and graffiti accumulated on them. The essays that supplement the images investigate Doğançay’s ongoing engagement with the urban wall as a projection surface as well as his method of combining photography and sketching as the basis for his remarkable graphic and painted art. Text in French and German.

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New view of the crucial role of fashion discourse and practice in Weimar Germany and its significance for women. In the Weimar Republic, fashion was not only manipulated by the various mass media -- film, magazines, advertising, photography, and popular literature -- but also emerged as a powerful medium for women's self-expression. Female writers and journalists, including Helen Grund, Irmgard Keun, Vicki Baum, Elsa Maria Bug, and numerous others engaged in a challenging, self-reflective commentary on current styles. By regularly publishing on these topics in the illustrated press and popular literature, they transformed traditional genres and carved out significant public space for themselves. This book re-evaluates paradigmatic concepts of German modernism such as the flâneur, the Feuilleton, and Neue Sachlichkeit in the light of primary material unearthed in archival research: fashion vignettes, essays, short stories, travelogues, novels, films, documentaries, newsreels, and photographs. Unlike other studies of Weimar culture that have ignored the crucial role of fashion, the book proposes a new genealogy of women's modernity by focusing on the discourse and practice of Weimar fashion, in which the women were transformed from objects of male voyeurism into subjects with complex, ambivalent, and constantly shifting experiences of metropolitan modernity. Mila Ganeva is Associate Professor of German at Miami University, Oxford, Ohio.

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Public space is political space. When a work of public art is put up or taken down, it is an inherently political statement, and the work’s aesthetics are inextricably entwined with its political valences. Democracy’s openness allows public art to explore its values critically and to suggest new ones. However, it also facilitates artworks that can surreptitiously or fortuitously undermine democratic values. Today, as bigotry and authoritarianism are on the rise and democratic movements seek to combat them, as Confederate monuments fall and sculptures celebrating diversity rise, the struggle over the values enshrined in the public arena has taken on a new urgency.In this book, Fred Evans develops philosophical and political criteria for assessing how public art can respond to the fragility of democracy. He calls for considering such artworks as acts of citizenship, pointing to their capacity to resist autocratic tendencies and reveal new dimensions of democratic society. Through close considerations of Chicago’s Millennium Park and New York’s National September 11 Memorial, Evans shows how a wide range of artworks participate in democratic dialogues. A nuanced consideration of contemporary art, aesthetics, and political theory, this book is a timely and rigorous elucidation of how thoughtful public art can contribute to the flourishing of a democratic way of life.

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Located in the futuristic business district La Défense of Paris, Trinity is a 32-storey office tower, built ex nihilo on a concrete slab poured above a seven-lane roadway as a major feat of civil engineering. Designed by Paris-based Cro&Co Architecture, it provides 3,500 square metres of landscaped public space and links the previously disconnected neighbourhoods within La Défense. Diverging from traditional office building design, Trinity is a unique high-rise conceived to facilitate open interaction with its environment, and to enable new forms of working through its shared spaces, terraces and balconies, and an accessible rooftop. It marks a break with the inward-looking buildings that have predominated in La Défense so far and that are indifferent to their surroundings. Trinity offers truly habitable heights with its generous public and semi-public spaces, distinguishing it from other high-rises designed to maximise real-estate returns. This book, published in collaboration with the Paris-based agency Metropolis, shows how the Trinity project’s different views were made, the iterations that led to a system where vision connects, assembles and brings together. It reveals the elements involved in making these various views, destined to disappear as construction advanced. And it explores the tension between these hidden elements and the views that they form.

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Forming the 23rd addition to a successful series, this book contains papers presented by an extensive selection of international delegates at the 23rd International Conference on Urban Transport and the Environment. Due to its continued success and multiplicity of topics, the series is considered to be a leading source of new research in the area of transport engineering. Transportation in urban areas, with its related environmental and social impacts, is of significant concern for government policymakers and for the urban citizens who need efficient transport systems. Extensive reviews of these systems are required to devise and then safeguard their operational use, maintenance, safety and security. The continuing requirement for better and more efficient urban transport systems and the need for a healthier environment has added to the increasing international desire for new technologies and developments in this essential field. The variety of topics covered reflects the complex interaction of urban transport systems with their environment and the need to establish integrated strategies. These topics include: Urban Strategies; Urban Transport Planning and Management; Public Policies and Governance; Public Transport Systems; Transportation Modelling and Simulation; Mobility and Public Space; Eco-mobility Transport Systems; Infrastructure Development; Innovations in Transport; Environmental Impact; Traffic Control; Human Factor and Railway Safety; Safety and Security; Traffic Accidents; Travel Behaviour Studies; Railway Systems.

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Feminist City is an ongoing experiment in living differently, living better, and living more justly in an urban world. We live in the city of men. Our public spaces are not designed for female bodies. There is little consideration for woman as mothers, workers or carers. The urban streets often are a place of threats rather than community. Gentrification has made the everyday lives of women even more difficult. What would a metropolis for working women look like? A city of friendships beyond Sex and the City. A transit system that accommodates mothers with strollers on the school run. A public space with enough toilets. A place where women can walk without harassment. In The Feminist City, through history, personal experience and popular culture Leslie Kern exposes what is hidden in plain sight: the social inequalities are built into our cities, homes, and neighbourhoods. And offers an alternative vision of the feminist city.Taking on fear, motherhood, friendship, activism, and the joys and perils of being alone, Kern maps the city from new vantage points, laying out a feminist intersectional approach to urban histories and proposes that the city is perhaps also our best hope for shaping a new urban future. It is time to dismantle what we take for granted about cities and to ask how we can build more just, sustainable, and care-full cities together.

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The Care Manifesto puts care at the heart of the debates of our current crisis: from intimate care-childcare, healthcare, elder care-to care for the natural world. We live in a world where carelessness reigns, but it does not have to be this way.The Care Manifesto puts forth a vision for a truly caring world. The authors want to reimagine the role of care in our everyday lives, making it the organising principle in every dimension and at every scale of life. We are all dependent on each other, and only by nurturing these interdependencies can we cultivate a world in which each and every one of us can not only live but thrive.The Care Manifesto demands that we must put care at the heart of the state and the economy. A caring government must promote collective joy, not the satisfaction of individual desire. This means the transformation of how we organise work through co-operatives, localism and nationalisation. It proposes the expansion of our understanding of kinship for a more 'promiscuous care'. It calls for caring places through the reclamation of public space, to make a more convivial city. It sets out an agenda for the environment, most urgent of all, putting care at the centre of our relationship to the natural world.

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This cutting-edge book explores the diverse and contested meanings of ''citizenship'' in the 21st century, as representative democracy faces a mounting crisis in the wake of the Digital Age. Luigi Ceccarini enriches and updates the common notion of citizenship, answering the question of how it is possible to fully live as a citizen in a post-modern political community.Employing an international, multidisciplinary framework, Ceccarini brings together the findings of continental political philosophy and history, and contemporary western political science and communication studies to advance our understanding of political motivation and participation in the present day. As new participatory and monitoring dynamics of online citizenship redefine the very form of public space, this timely book addresses the values, creativity and aspirations through which social actors engage with a networked society, making use of technological innovations and new forms of communication to participate in post-representative politics.A provocative call to action in an era defined by distrust, disillusionment and digitization, this book is crucial reading for scholars and researchers of political science, sociology and communication studies, particularly those seeking a thoroughly modern understanding of digital citizenship. It will also benefit advanced political science students in need of a historical overview of the concept of citizenship and how it has developed under the auspices of the Internet.

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Vulnerability and resistance have often been seen as opposites, with the assumption that vulnerability requires protection and the strengthening of paternalistic power at the expense of collective resistance. Focusing on political movements and cultural practices in different global locations, including Turkey, Palestine, France, and the former Yugoslavia, the contributors to Vulnerability in Resistance articulate an understanding of the role of vulnerability in practices of resistance. They consider how vulnerability is constructed, invoked, and mobilized within neoliberal discourse, the politics of war, resistance to authoritarian and securitarian power, in LGBTQI struggles, and in the resistance to occupation and colonial violence. The essays offer a feminist account of political agency by exploring occupy movements and street politics, informal groups at checkpoints and barricades, practices of self-defense, hunger strikes, transgressive enactments of solidarity and mourning, infrastructural mobilizations, and aesthetic and erotic interventions into public space that mobilize memory and expose forms of power. Pointing to possible strategies for a feminist politics of transversal engagements and suggesting a politics of bodily resistance that does not disavow forms of vulnerability, the contributors develop a new conception of embodiment and sociality within fields of contemporary power.Contributors. Meltem Ahiska, Athena Athanasiou, Sarah Bracke, Judith Butler, Elsa Dorlin, Başak Ertür, Zeynep Gambetti, Rema Hammami, Marianne Hirsch, Elena Loizidou, Leticia Sabsay, Nükhet Sirman, Elena Tzelepis

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2017 Choice Outstanding Academic Title The High Line, an innovative promenade created on a disused elevated railway in Manhattan, is one of the world’s most iconic new urban landmarks. Since the opening of its first section in 2009, this unique greenway has exceeded all expectations in terms of attracting visitors, investment, and property development to Manhattan’s West Side. Frequently celebrated as a monument to community-led activism, adaptive re-use of urban infrastructure, and innovative ecological design, the High Line is being used as a model for numerous urban redevelopment plans proliferating worldwide.Deconstructing the High Line is the first book to analyze the High Line from multiple perspectives, critically assessing its aesthetic, economic, ecological, symbolic, and social impacts. Including several essays by planners and architects directly involved in the High Line’s design, this volume also brings together a diverse range of scholars from the fields of urban studies, geography, anthropology, sociology, and cultural studies. Together, they offer insights into the project’s remarkable success, while also giving serious consideration to the critical charge that the High Line is “Disney World on the Hudson,” a project that has merely greened, sanitized, and gentrified an urban neighborhood while displacing longstanding residents and businesses.Deconstructing the High Line is not just for New Yorkers, but for anyone interested in larger issues of public space, neoliberal redevelopment, creative design practice, and urban renewal.

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Contemporary protest, often presented in media forms as a dramatic ritual played out in an iconic public space has provided a potent symbol of the widespread economic and social discontent that is a feature of European life under the rule of “austerity.” Yet, beneath this surface activity, which provides the headlines and images familiar from mainstream news coverage, lies a whole array of deeper structures, modes of behavior, and forms of human affiliation. Contemporary Protest and the Legacy of Dissent offers a vibrant and insightful overview of modern protest movements, ideologies, and events. Written by academics and activists familiar with the strategies, values, and arguments of those groups and individuals responsible for shaping the modern landscape of protest, it reveals the inside story of a number of campaigns and events. It analyzes the various manifestations of dissent—on and offline, visible and obscure, progressive and reactionary—through the work of a number of commentators and dedicated “academic activists,” while reassessing the standard explanatory frameworks supplied by contemporary theorists. In doing so, it offers a coherent account of the range of academic and theoretical approaches to the study of protest and social movements. Contributions by: David Bates, Mark Bergfeld, Vincent Campbell, Claire English, Ingrid M. Hoofd, Soeren Keil, Matthew Ogilvie, Stuart Price, Anandi Ramamurthy, Ruth Sanz Sabido, Lee Salter, Cassian Sparkes-Vian, and Thomas Swann.

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Over the years, cars have helped to define the experiences and self-perceptions of women in complex and sometimes unexpected ways. When women take the wheel, family structure and public space are reconfigured and re-gendered, creating a context for a literary tradition in which the car has served as a substitute for, an escape from, and an extension of the home, as well as a surrogate mother, a financial safeguard, and a means of self-expression. Driving Women examines the intersection of American fiction-primarily but not exclusively by women-and automobile culture. Deborah Clarke argues that issues critical to twentieth-century American society-technology, mobility, domesticity, and agency-are repeatedly articulated through women's relationships with cars. Women writers took surprisingly intense interest in car culture and its import for modern life, as the car, replete with material and symbolic meaning, recast literal and literary female power in the automotive age. Clarke draws on a wide range of literary works, both canonical and popular, to document women's fascination with cars from many perspectives: historical, psychological, economic, ethnic. Authors discussed include Wharton, Stein, Faulkner, O'Connor, Morrison, Erdrich, Mason, Kingsolver, Lopez, Kadohata, Smiley, Senna, Viramontes, Allison, and Silko. By investigating how cars can function as female space, reflect female identity, and reshape female agency, this engaging study opens up new angles from which to approach fiction by and about women and traces new directions in the intersection of literature, technology, and gender.

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The different ways of understanding the landscape and the art of gardens by a well-known landscape architect. In the last two decades a new generation of landscape architects has definitively emerged together with a new and more aware clientele that is beginning to see the design of open spaces as an extraordinary environmental and civic resource. “Designing” the landscape in order to transform and develop the environment surrounding us: this is how the architect and landscape designer Patrizia Pozzi sees her work. Illustrated with hundreds of photographs, drawings and plans, this publication presents her recent projects divided into four sections: Energy landscape (eco-sustainability and bio-compatibility), Inhabiting nature (landscape as a source of inspiration and integration), New trends (new dynamics in approaching public space and daily life) and Nursery (sustainability and integration between architecture and open spaces), and leads the reader through an endless series of beautiful landscapes designed with care and natural understanding. What emerges is the philosophy of a person who wants to “get her hands dirty” with a project, developing it in meticulous detail and lending value to the transformation of contemporary landscape from its most poetic aspect, focussing on sustainability and the use of innovative materials. With all its different scales and variations, the landscape is conceived and constructed as an active resource for the future, an authentic and extremely powerful source of renewal for a reality urgently in need of quality and beauty in every place we inhabit.

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More than a truly brilliant graphic designer, Otl Aicher was a transformative thinker, photographer, typographer, ecologist, philosopher, co-founder and mentor of the renowned Hochschule fuer Gestaltung at Ulm and teacher. On the centenary of his birth, this splendidly produced and designed book looks at every facet of his career, and traces the many strands of his lasting influence. Otl Aicher is most famously known for the pictographs he designed for the 1972 summer Olympic Games in Munich. Fifty years later, his system of iconography has become a universal language, directing people to bathrooms, through subways, around airports and hospitals. But Aicher's achievements extended far beyond the world of graphic design. Filled with illustrations, photographs, documents and archival material, and enhanced by thoughtful and personal essays from leading critics, designers, and friends, this survey takes a disciplinary approach to explore Aicher's role as one of the founding figures of visual communication. We learn about Aicher's work developing corporate brands; how he created the Rotis typeface, then built architecture incorporating the font; how he collaborated with artists and architects such as Josef Albers, Alexander Kluge, and Norman Foster; and how his founding of the Ulm School of Design reflected his passion for teaching, and for an open, free, and democratic society. Aicher's achievements are evident in nearly every public space on the globe and this definitive and timely reference work rightfully places Aicher among the pioneering geniuses of the past century.

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As capitalism triumphs on the ruins of utopias and faith in progress fades, revolts are breaking out everywhere. From London to Hong Kong and from Buenos Aires to Beirut, protests flare up, in some cases spreading like wildfire, in other cases petering out and reigniting elsewhere. Not even the pandemic has been able to stop them: as many were reflecting on the loss of public space, the fuse of a fresh explosion was lit in Minneapolis with the brutal murder of George Floyd. We are living in an age of revolt. But what is revolt? It would be a mistake to think of it as simply an explosion of anger, a spontaneous and irrational outburst, as it is often portrayed in the media. Exploding anger is not a bolt from the blue but a symptom of a social order in which the sovereignty of the state has imposed itself as the sole condition of order. Revolt challenges the sovereignty of the state, whether it is democratic or despotic, exposing the violence that underpins it. Revolt upsets the agenda of power, interrupts time, throws history into disarray. The time of revolt, discontinuous and intermittent, is also a revolt of time, an anarchic transition to a space of time that disengages itself from the architecture of politics. This brilliant reflection on the nature and significance of revolt will be of interest to students of politics and philosophy and to anyone concerned with the key questions of politics today.

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St. Petersburg's Winter Palace was once the supreme architectural symbol of Russia's autocratic government. Over the course of the nineteenth and early twentieth centuries, it became the architectural symbol of St. Petersburg itself. The story of the palace illuminates the changing relationship between monarchs and their capital city during the last century and a half of Russian monarchy. In The Winter Palace and the People, Susan McCaffray examines interactions among those who helped to stage the ceremonial drama of monarchy, those who consumed the spectacle, and the monarchs themselves. In the face of a changing social landscape in their rapidly growing nineteenth-century capital, Russian monarchs reoriented their display of imperial and national representation away from courtiers and toward the urban public. When attacked at mid-century, monarchs retreated from the palace. As they receded, the public claimed the square and the artistic treasures in the Imperial Hermitage before claiming the palace itself. By 1917, the Winter Palace had come to be the essential stage for representing not just monarchy, but the civic life of the empire-nation. What was cataclysmic for the monarchy presented to those who staffed the palace and Hermitage not a disaster, but a new mission, as a public space created jointly by monarch and city passed from the one to the other. This insightful study will appeal to scholars of Russia and general readers interested in Russian history.

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How and why cities have become the predominant sites for revolutionary upheavals in the contemporary worldExamining the changing character of revolution around the world, The Revolutionary City focuses on the impact that the concentration of people, power, and wealth in cities exercises on revolutionary processes and outcomes. Once predominantly an urban and armed affair, revolutions in the twentieth century migrated to the countryside, as revolutionaries searched for safety from government repression and discovered the peasantry as a revolutionary force. But at the end of the twentieth century, as urban centers grew, revolution returned to the city—accompanied by a new urban civic repertoire espousing the containment of predatory government and relying on visibility and the power of numbers rather than arms.Using original data on revolutionary episodes since 1900, public opinion surveys, and engaging examples from around the world, Mark Beissinger explores the causes and consequences of the urbanization of revolution in the late twentieth and early twenty-first centuries. Beissinger examines the compact nature of urban revolutions, as well as their rampant information problems and heightened uncertainty. He investigates the struggle for control over public space, why revolutionary contention has grown more pacified over time, and how revolutions involving the rapid assembly of hundreds of thousands in central urban spaces lead to diverse, ad hoc coalitions that have difficulty producing substantive change.The Revolutionary City provides a new understanding of how revolutions happen and what they might look like in the future.

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Who Owns Religion? focuses on a period—the late 1980s through the 1990s—when scholars of religion were accused of scandalizing or denigrating the very communities they had imagined themselves honoring through their work. While controversies involving scholarly claims about religion are nothing new, this period saw an increase in vitriol that remains with us today. Authors of seemingly arcane studies on subjects like the origins of the idea of Mother Earth or the sexual dynamics of mysticism have been targets of hate mail and book-banning campaigns. As a result, scholars of religion have struggled to describe their own work to their various publics, and even to themselves. Taking the reader through several compelling case studies, Patton identifies two trends of the ’80s and ’90s that fueled that rise: the growth of multicultural identity politics, which enabled a form of volatile public debate she terms “eruptive public space,” and the advent of the internet, which offered new ways for religious groups to read scholarship and respond publicly. These controversies, she shows, were also fundamentally about something new: the very rights of secular, Western scholarship to interpret religions at all. Patton’s book holds out hope that scholars can find a space for their work between the university and the communities they study. Scholars of religion, she argues, have multiple masters and must move between them while writing histories and speaking about realities that not everyone may be interested in hearing.

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How and why cities have become the predominant sites for revolutionary upheavals in the contemporary worldExamining the changing character of revolution around the world, The Revolutionary City focuses on the impact that the concentration of people, power, and wealth in cities exercises on revolutionary processes and outcomes. Once predominantly an urban and armed affair, revolutions in the twentieth century migrated to the countryside, as revolutionaries searched for safety from government repression and discovered the peasantry as a revolutionary force. But at the end of the twentieth century, as urban centers grew, revolution returned to the city—accompanied by a new urban civic repertoire espousing the containment of predatory government and relying on visibility and the power of numbers rather than arms.Using original data on revolutionary episodes since 1900, public opinion surveys, and engaging examples from around the world, Mark Beissinger explores the causes and consequences of the urbanization of revolution in the late twentieth and early twenty-first centuries. Beissinger examines the compact nature of urban revolutions, as well as their rampant information problems and heightened uncertainty. He investigates the struggle for control over public space, why revolutionary contention has grown more pacified over time, and how revolutions involving the rapid assembly of hundreds of thousands in central urban spaces lead to diverse, ad hoc coalitions that have difficulty producing substantive change.The Revolutionary City provides a new understanding of how revolutions happen and what they might look like in the future.

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Urban space is a commons: simultaneously a sphere of human cooperation and negotiation and its product. Understanding urban space as a commons means that the much sought-after productivity of the city precedes rather than results from strategies of the state and capital. This approach challenges assumptions of urbanization as capital-driven, an idea which resonates with a range of recent urban social movements, from the Arab Spring and the Occupy movement to the “Right to the City” alliance. However commons exist in a tense relationship with state and market, both of which continually seek to exploit and control them. Initiatives to create “commons” are welcomed and even facilitated by governments in order to (re-)valorize urban space and lessen the impacts of economic restructuring, while, at the same time, the creative and reproductive potential of the urban commons is undermined by continuing attempts to commodify them. This volume examines these topics theoretically and empirically through a wide spectrum of international case studies providing perspectives from a variety of cities as diverse as Berlin, Hyderabad and Seoul. A wider discussion of commons in current scientific and activist literature from housing, public space, to urban infrastructure, is explored through the lens of the urban condition.

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Female-to-male crossdressing became all the rage in the variety shows of nineteenth-century America and began as the domain of mature actresses who desired to extend their careers. These women engaged in the kinds of raucous comedy acts usually reserved for men. Over time, as younger women entered the specialty, the comedy became less pointed and more centered on the celebration of male leisure and fashion. Gillian M. Rodger uses the development of male impersonation from the early nineteenth century to the early twentieth century to illuminate the history of the variety show. Exploding notions of high- and lowbrow entertainment, Rodger looks at how both performers and forms consistently expanded upward toward respectable—and richer—audiences. At the same time, she illuminates a lost theatrical world where women made fun of middle-class restrictions even as they bumped up against rules imposed in part by audiences. Onstage, the actresses' changing performance styles reflected gender construction in the working class and shifts in class affiliation by parts of the audiences. Rodger observes how restrictive standards of femininity increasingly bound male impersonators as new gender constructions allowed women greater access to public space while tolerating less independent behavior from them.

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The exhibition Swiss Pop Art at Aargauer Kunsthaus in spring 2017 is the first-ever comprehensive overview of Pop Art in Switzerland. For the Swiss art scene in the 1960s and early 1970s, this international movement was of pivotal importance. Artists such as Susi and Ueli Berger, Fernando Bordoni, Carl Bucher, Emilienne Farny, Bendicht Fivian, Franz Gertsch, Margrit Jaggli, Urs Luthi, Markus Muller, Markus Raetz, and Peter Stampfli took up the trends coming from the US and Britain with great interest. Impressed by the Pop Art movement's provocative images and new motifs, they created works that sometimes borrowed strongly from their models, yet also using them to develop their own artistic language. This new book coincides with the exhibition, exploring the particularities of Swiss forms of Pop Art and looking not only at visual art but also examining various links to design, art in public space, photography, film, fashion, and music. Featuring a wealth of works by Swiss protagonists of the Pop Art movement, it offers as well an illustrated chronology of the period that was politically, socially, and artistically exceptionally lively in Switzerland as much as in many other countries. Swiss Pop Art, Aargauer Kunsthaus, Aarau, Switzerland, 6 May to 30 October 2017.

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Monuments represent power: explicitly and simply, but not universally. In Estonia, the classical notion of a monument is a strange one. Its presence is marginal, its tradition non-existent and its form tormented by an apparent cultural displacement. The statue on a square never claimed the central position so common in Western Europe. This semantic void directs attention to other, less exceptional pieces of architecture. Sometimes a stairway marks a politically charged location, or a pavement becomes symbolic. Instead of explicit meanings inscribed in marble and bronze, an implicit charge is revealed that might be weaker yet more relevant, for what is only implicit cannot be openly questioned. Weak Monument explores the blurred line between a monument's explicitly political form and the architecture of everyday. It juxtaposes classical monuments with seemingly insignificant architectural objects and public space in a collection of images and drawings, archival as well as newly commissioned ones, alongside essays and brief texts. Contributors include such eminent guests as Tom Avermaete, Professor of Architecture at the Delft University of Technology; Margrethe Troensegaard from Ruskin School of Art, University of Oxford; Eik Hermann, Estonian theorist and philosopher; and Toomas Paaver, Estonian architect and political activist. Text in English and Estonian.

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Library of Light brings together established and emerging practitioners who work with light, as material or subject, from theatre, music, performance, fine art, photography, film, public art, holography, digital media, architecture, and the built environment, together with curators, producers and other experts. Structured around twenty-five interviews and four thematic essays – Political Light, Mediating Light, Performance Light and Absent Light – the book aims to broaden our understanding of light as a creative medium and examines its impact on our cultural history and the role it plays in the new frontiers of art, design and technology. Illustrated with colour photographs and images of installations, sculptures, architectural projects, interventions in public space and works in virtual reality, the book includes interviews and contributions by: David Batchelor, Rana Begum, Robin Bell, Jason Bruges (Jason Bruges Studio), Anne Bean and Richard Wilson (The Bow Gamelan), Laura Buckley, Mário Caeiro, Paule Constable, Ernest Edmonds, Angus Farquhar (NVA), Rick Fisher, Susan Gamble and Michael Wenyon, Jon Hendricks, ISO Studio, Susan Hiller, Michael Hulls and Russell Maliphant, Cliff Lauson, Chris Levine, Michael Light, Joshua Lightshow, Liliane Lijn, Rafael Lozano-Hemmer, Manu Luksch, Mark Major (Speirs + Major), Helen Marriage (Artichoke), Anthony McCall, Gustav Metzger, Haroon Mirza, Yoko Ono, Katie Paterson, Andrew Pepper, Mark Titchner, Andi Watson.

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This book proposes a new interdisciplinary understanding of urban design in China based on a study of the transformative effects of socio-spatial design and planning on communities and their governance. This is framed by an examination of the social projects, spaces, and realities that have shaped three contexts critical to the understanding of urban design problems in China: the histories of “collective forms” and “collective spaces”, such as that of the urban danwei (work-unit), which inform current community building and planning; socio-spatial changes in urban and rural development; and disparate practices of “spatialised governmentality”. These contexts and an attendant transformation from planning to design and from government to governance, define the current urban design challenges found in the dominant urban xiaoqu (small district) and shequ (community) development model. Examining the histories, transformations, and practices that have shaped socio-spatial epistemologies and experiences in China – including a specific sense of community and place that is rather based on a concrete “collective” than abstract “public” space and underpinned by socialised governance – this book brings together a diverse range of observations, thoughts, analyses, and projects by urban researchers and practitioners. Thereby discussing emerging interdisciplinary urban design practices in China, this book offers a valuable resource for all academics, practitioners, and stakeholders with an interest in socio-spatial design and development.

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What key concerns are reflected in documentaries produced in and about the United States? How have documentaries engaged with competing visions of US history, culture, politics, and national identity? This book examines how documentary films have contributed to the American public sphere - creating a kind of public space, serving as sites for community-building, public expression, and social innovation. Geiger focuses on how documentaries have been significant in forming ideas of the nation, both as an imagined space and a real place. Moving from the dawn of cinema to the present day, this is the first full-length study to focus on the extensive range and history of American non-fiction filmmaking. Combining comprehensive overviews with in-depth case studies, Geiger maps American documentary's intricate histories, examining the impact of pre- and early cinema, travelogues, the avant-garde, 1930s social documentary, propaganda, direct cinema, postmodernism, and 'new' documentary. Offering detailed close analyses and fresh insights, this book provides students and scholars with a stimulating guide to American documentary, reminding us of its important place in cinema history. Key Features * Historical overview of major documentary forms and practices in the USA * Case studies, including Nanook of the North, The Plow that Broke the Plains, Grey Gardens, and Fahrenheit 9/11 * Analysis of critical debates relating to filmic representations of reality

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In March 1987 a radical coalition of queer activists converged on Wall Street ... their target, 'Business, Big Business, Business as Usual!!!' It was ACT UP's first demonstration. In November 1999 a radical coalition of environmental, labor, anarchist, queer, and human rights activists converged in Seattle-their target was similar, a system of global capitalism. Between 1987 and 1999 a new project in activism had emerged unshackled from past ghosts. Through innovative use of civil rights' era non-violent disobedience, guerrilla theatre, and sophisticated media work, ACT UP has helped transform the world of activism.This anthology offers a history of ACT UP for a new generation of activists and students. It is divided into five sections which address the new social movements, the use of street theater to reclaim public space, queer and sexual politics, new media/electronic civil disobedience, and race and community building. Contributions range across a diverse spectrum: The Northwest Bronx Community and Clergy Coalition, Jubilee 2000, Students for an Undemocratic Society, Fed Up Queers, Gender Identity Center of Colorado, Triangle Foundation, Jacks of Color, National Coalition for Sexual Freedom, Lower East Side Collective, Community Labor Coalition, Church of Stop-Shopping, Indy Media Collective, Black Radical Congress, The Theater of the Oppressed Laboratory, Adelante Street Theater; HealthGAP, Housing Works, SexPanic! and, of course, ACT UP itself.

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A celebration of outdoor swimming – looking at the history, design and social aspect of pools. The 1930s architecture of the pools is often sleek and elegant, evoking speed and efficiency. And the pools themselves are great social levellers – a public space where everyone is stripped down to a bathing suit. The book begins with a history of the pools – their grand beginnings after the buttoned-up Victorian era, their falling popularity in the 20th century, and the newfound appreciation for the outdoor pool, or lido, and outdoor swimming in the 21st century. Journalist and architectural historian Christopher Beanland picks the very best of the outdoor pools around the world, including the Icebergs Pool on Bondi Beach, Australia; the 137m seawater pool in Vancouver, Canada; Siza's concrete sea pools in Porto, Portugal; the restored art deco pool in Saltdean, UK, and the pool at the Zollverein Coal Mines in Essen, Germany. The book will also feature the lost lidos and the fascinating history behind the architecture of the pools, and essays on swimming pools in art, and the importance of pools in Australia. In addition there are interviews with pool users around the globe about why it is they swim. The book is illustrated throughout with beautiful colour photography, as well as archive photography and advertising and a map with the pool locations.

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In the first half of the twentieth century, a pioneering generation of young women exited their homes and entered public space, marking a new era for women's civic participation in northern Sudan. A provocative new public presence, women's civic engagement was at its core a bodily experience. Amid the socio-political upheavals of imperial rule, female students, medical workers, and activists used a careful choreography of body movements and fashion to adapt to imperial mores, claim opportunities for political agency, and shape a new standard of modern, mobile womanhood. Khartoum at Night is the first English-language history of these women's lives, examining how their experiences of the British Empire from 1900–1956 were expressed on and through their bodies. Central to this story is the tobe: a popular, modest form of dress that wrapped around a woman's head and body. Marie Grace Brown shows how northern Sudanese women manipulated the tucks, folds, and social messages of the tobe to deftly negotiate the competing pulls of modernization and cultural authenticity that defined much of the imperial experience. Her analysis weaves together the threads of women's education and activism, medical midwifery, urban life, consumption, and new behaviors of dress and beauty to reconstruct the worlds of politics and pleasure in which early-twentieth-century Sudanese women lived.

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Are we not all criminals eating our take-out, foraging for mushrooms, lapping at puddles? What happens when sleep becomes commodified? What if all the people at your local cafe were piloting drone strikes? What is the hidden cost and darkness of the society we must all engage with? Mr. Colostomy opens up cans of worms faster than they can restock the Goya on your bodega shelves. Who is Mr. Colostomy? Why, he s a manifestation of a searching consciousness, a marginally employable horse detective who sleeps outside, standing up. As he attempts to unravel a ridiculous plot that follows the disappearance of a couple of brats who turn into atomic particles after sundown, Mr. Colostomy remains always alien, a mutant mustang, an eccentric equus who might just be trying to make a buck in Babytown, the Babylon built by babes or, is a more sinister plot a-hoof? The surreal comedy of Mr. Colostomy is enhanced by Thurber s process of creating the comic through parapraxis, meaning with no forethought or pencilling. This comic honours the mistake as the desired or hidden expression of the unconscious. All that matters is that the comic is funny or real or neither! All comics were created in a public space in order to swim in or feel the audience.

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This is the second and final volume of scientific and interdisciplinary reports on the excavations and research conducted at Tell el-Borg, north Sinai, between 1998 and 2008, written by the scholars and specialists who worked on the site under the direction of Professor James K. Hoffmeier.This volume focuses on the cemetery areas, which yield more than a dozen tombs, typically made of mud brick, some of which were constructed for a single occupant and some of which were larger tombs that accommodated multiple family members. Included is a treatment of an area of “public” space featuring a temple and a well, among other things, and a study of the geological results of the nearby ancient Ballah Lakes that offers new data on the history of the Nile distributary that flowed by Tell el-Borg. The balance of the work deals with specialty reports, including the faunal and botanical remains, the clay coffins, and elite stones. A concluding chapter offers a synthesis of the decade of work and ties together the finds published in both volumes.In addition to the editor, the contributors to this volume include Stephen Moshier, Bahaa Gayed, Gregory D. Mumford, Scott D. Haddow, Mark Janzen, Thomas W. Davis, Rexine Hummel, Hesham M. Hussein, Carole McCartney, Michelle A. Loyet, Louise Bertini, and Salima Ikram.

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How a city government in central Mexico evolved from waging war on graffiti in the early 2000s to sanctioning its creation a decade later, and how youth navigated these changing conditions for producing art. The local government, residents, and media outlets in León, Mexico, treated graffiti as a disease until the state began sponsoring artistic graffiti through a program of its own. In Voices in Aerosol, the first book-length study of state-sponsored graffiti, Caitlin Frances Bruce considers the changing perceptions and recognition of graffiti artists, their right to the city, and the use of public space over the span of eighteen years (2000–2018). Focusing on the midsized city of León, Bruce offers readers a look at the way negotiations with the neoliberal state unfolded at different levels and across decades. Issues brought to light in this case study, such as graffiti as a threat and graffiti as a sign of gentrification, resonate powerfully with those germane to other urban landscapes throughout the Western Hemisphere and beyond. Combining archival work, interviews, considerations of urban planning, local politics in Mexico, and insights gained by observing graffiti events and other informal artistic encounters, Bruce offers a new lens through which to understand the interplay between sanctioned and unsanctioned forms of cultural expression. Ultimately, Voices in Aerosol builds a strong case for graffiti as a contested tool for "voicing" public demands.

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New Mobilities Regimes analyses how global mobilities are changing the world of today and the role of political and economic power. Bringing together essays by leading scholars and social scientists, including Mimi Sheller and Bülent Diken with the work of well-known artists and art theorists such as Jordan Crandall, Ursula Bieman, Gülsün Karamustafa and Dan Perjovschi this book is a unique document of the cross-disciplinary mobility and power discourse. The specific design, integrating the text and art elements to create a singular dialogue makes for an exciting intellectual and aesthetic experience. Illustrated by a range of studies which examine the regulation and structure of mobility, such as the daily routines of teleworkers, Ukrainian cleaners in Western Europe, the mobility policies of global corporations, and the impact of bicycle policies on public space, New Mobilities Regimes emphasizes the routes and crossroads of migration flows as well as at the interaction of mobility and new spatial concepts. The contributors are concerned with both the positive outcomes and the disappointments of the global mobilizations in modern lives. This book is ground-breaking in that it calls for the reassessment of the figurative arts in providing independent and insightful knowledge-generating research on the nature of mobility and highlights the new appreciation of visual representations in sociology, cultural geography and anthropology.

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Classical Greek Oligarchy thoroughly reassesses an important but neglected form of ancient Greek government, the "rule of the few." Matthew Simonton challenges scholarly orthodoxy by showing that oligarchy was not the default mode of politics from time immemorial, but instead emerged alongside, and in reaction to, democracy. He establishes for the first time how oligarchies maintained power in the face of potential citizen resistance. The book argues that oligarchs designed distinctive political institutions—such as intra-oligarchic power sharing, targeted repression, and rewards for informants—to prevent collective action among the majority population while sustaining cooperation within their own ranks.To clarify the workings of oligarchic institutions, Simonton draws on recent social science research on authoritarianism. Like modern authoritarian regimes, ancient Greek oligarchies had to balance coercion with co-optation in order to keep their subjects disorganized and powerless. The book investigates topics such as control of public space, the manipulation of information, and the establishment of patron-client relations, frequently citing parallels with contemporary nondemocratic regimes. Simonton also traces changes over time in antiquity, revealing the processes through which oligarchy lost the ideological battle with democracy for legitimacy.Classical Greek Oligarchy represents a major new development in the study of ancient politics. It fills a longstanding gap in our knowledge of nondemocratic government while greatly improving our understanding of forms of power that continue to affect us today.

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In 1978, Ed Koch assumed control of a city plagued by filth, crime, bankruptcy, and racial tensions. By the end of his mayoral run in 1989 and despite the Wall Street crash of 1987, his administration had begun rebuilding neighborhoods and infrastructure. Unlike many American cities, Koch's New York was growing, not shrinking. Gentrification brought new businesses to neglected corners and converted low-end rental housing to coops and condos. Nevertheless, not all the changes were positive--AIDS, crime, homelessness, and violent racial conflict increased, marking a time of great, if somewhat uneven, transition. For better or worse, Koch's efforts convinced many New Yorkers to embrace a new political order subsidizing business, particularly finance, insurance, and real estate, and privatizing public space. Each phase of the city's recovery required a difficult choice between moneyed interests and social services, forcing Koch to be both a moderate and a pragmatist as he tried to mitigate growing economic inequality. Throughout, Koch's rough rhetoric (attacking his opponents as "crazy," "wackos," and "radicals") prompted charges of being racially divisive. The first book to recast Koch's legacy through personal and mayoral papers, authorized interviews, and oral histories, this volume plots a history of New York City through two rarely studied yet crucial decades: the bankruptcy of the 1970s and the recovery and crash of the 1980s.

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In 1978, Ed Koch assumed control of a city plagued by filth, crime, bankruptcy, and racial tensions. By the end of his mayoral run in 1989 and despite the Wall Street crash of 1987, his administration had begun rebuilding neighborhoods and infrastructure. Unlike many American cities, Koch's New York was growing, not shrinking. Gentrification brought new businesses to neglected corners and converted low-end rental housing to coops and condos. Nevertheless, not all the changes were positive--AIDS, crime, homelessness, and violent racial conflict increased, marking a time of great, if somewhat uneven, transition. For better or worse, Koch's efforts convinced many New Yorkers to embrace a new political order subsidizing business, particularly finance, insurance, and real estate, and privatizing public space. Each phase of the city's recovery required a difficult choice between moneyed interests and social services, forcing Koch to be both a moderate and a pragmatist as he tried to mitigate growing economic inequality. Throughout, Koch's rough rhetoric (attacking his opponents as "crazy," "wackos," and "radicals") prompted charges of being racially divisive. The first book to recast Koch's legacy through personal and mayoral papers, authorized interviews, and oral histories, this volume plots a history of New York City through two rarely studied yet crucial decades: the bankruptcy of the 1970s and the recovery and crash of the 1980s.

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The book’s title — Taking Measures — has a double meaning: as a reference to the practices of measurement and to the political potential of power and resistance. Throughout their history to today, film and video have served as measuring devices for scientific, economic, political, and other purposes, and have been employed in a variety of fields beyond art. In acknowledging these uses also lies the opportunity for art to test its own effectiveness in public space and to uncover potential for resistance in artistic action. This book — which has evolved from a series of dialogues between artists and researchers as part of the research project Exhibiting Film: Challenges of Format at the University of Zurich — addresses issues of measures and formats in both content and design. In which practices of measurement, of the production of knowledge and evidence in the interest of useful research, are film and video involved? In what way can artistic practice not only make these involvements visible but challenge and test them? How can technologies of measurement in art be used politically and be made operative for the public sector? How can formats themselves, as the measures of art, be exhibited? How can they be put in relation to exhibition spaces and their economies of valorisation, and how can this relationship be assessed? These questions are explored in illuminating and richly illustrated essays.

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In this issue, Sureyya Evren's editorial examines the causes and consequences of the Gezi resitance in Istanbul in June 2013. Identifying the two-week occupation of Taksim Square and Gezi Park as the formulation of an temporary autonomous zone (TAZ), Evren discusses the police violence, state conservatism and threats to public space that led to this anarchist moment. Federico Campagna offers a poetic anarchist reading of the works of poet Fernando Pessoa. Pessoa lived through heteronyms, and Campagna explores how these different personalities offered Pessoa the potential to finally achieve 'free will'. Roy Krovel's article takes a theoretical approach in analysing how left libertarians and anarchists might develop a deeper understanding of global warming. Emphasising the urgency of locating such an understanding, Krovel argues that we need to fundamentally rethink our relationship to nature. Also in this issue, John Asimakopoulos identifies the failure to bridge the gap between utopian economic models of society and reality. Via the suggestions that corporations have boards of directors filled by lottery from the demos and the workers for the company, Asimakopoulos suggests that institutions of production need to be modified in order to achieve a society that resembles a distant utopia. Duane Rousselle and Saul Newman debate postanarchism, exploring the ethics of the movement and the fact that it is not located in a specific temporal period.

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'Covert' responds to three converging afflictions in society: our growing fixation with spending time looking at a screen the proportion of our lives we spend sitting/lying down, as a result the invasion of our privacy in the digital age To address these challenges (amplified in the Covid-19 pandemic) this handbook compiles 30 'movement meditations' that encourage readers to put down their phones and tablets to reclaim both an active and contemplative lifestyle, one that is highly integrated with, and inspired by, our surroundings. 'Covert' joins-up inner reflection, subtle physical play and public space to suggest ways of resisting invasion and activating the self in an era of sedentary screen time and surveillance. Using 30 carefully crafted 'movement meditations' - each with an accompanying photo to explain it - Covert outlines a straightforward, embodied practice that we can use to defend and preserve ourselves in the everyday world against the intrusion of digital media and the surveillance state. The 'Covert' practice is a way to diminish the lure of the screens, sidestep invasive scrutiny, and nurture the dialogue between our conscious and unconscious selves. By prioritizing introspective interactions with the quirky and complex world around us, 'Covert' shows that we have the means to cultivate our interior and imaginative selves through a dynamic, physical engagement with the wider world.

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Antifascist and socialist monuments pervaded the landscape of the former German Democratic Republic (1949-89), presenting a distorted vision of the national past. Official commemorative culture in East Germany celebrated a selective set of political heroes, seeming to leave no public space for mourning those who were excluded from the country's founding myths. Socialist Laments: Musical Mourning in the German Democratic Republic examines the role of music in this nation's memorial culture, demonstrating how music facilitated the expressions of loss within spaces of commemoration for East German citizens. Music performed during state-sponsored memorial rituals no doubt bolstered official narratives of the German past. But it simultaneously provided an outlet for mourning in highly politicized environment. The book presents both a history and theory of musical mourning in East Germany. Using a site-specific approach to analysis, author Martha Sprigge demonstrates how the multiple semantic networks opened up by these musical works facilitated many memorial associations without necessitating the overt articulation of a mourned subject. Throughout the country's forty-year existence, music offered East German citizens an audible outlet for working through traumatic losses-both collective and individual-that was distinct from other artistic expressive possibilities. The book reveals the ways that East Germany's extensive commemorative repertoire helped composers, performers, and audiences navigate between the inevitable need to mourn on the one hand, and the seeming impossibilities of mourning on the other.

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How do we come to terms with what can't be forgotten? How do we bear witness to extreme experiences that challenge the limits of language? This remarkable volume explores the emotional, political, and aesthetic dimensions of testimonies to trauma as they translate private anguish into public space. Nancy K. Miller and Jason Tougaw have assembled a collection of essays that trace the legacy of the Holocaust and subsequent events that have shaped twentieth-century history and still haunt contemporary culture. Extremities combines personal and scholarly approaches to a wide range of texts that bear witness to shocking and moving accounts of individual trauma: Toni Morrison's Beloved, Sylvia Plath's "Daddy" and "Lady Lazarus," Kathryn Harrison's The Kiss, Tatana Kellner's Holocaust art, Ruth Klüger's powerful memoir Still Alive, and Binjamin Wilkomirski's controversial narrative of concentration camp suffering Fragments. The book grapples with the cultural and social effects of historical crises, including the Montreal Massacre, the Warsaw Ghetto Uprising, and the medical catastrophes of HIV/AIDS and breast cancer. Developing insights from autobiography, psychoanalysis, feminist theory and gender studies, the authors demonstrate that testimonies of troubling and taboo subjects do more than just add to the culture of confession–-they transform identities and help reimagine the boundaries of community. Extremities offers an original and timely interpretive guide to the growing field of trauma studies. The volume includes essays by Ross Chambers, Sandra M. Gilbert, Susan Gubar, Marianne Hirsch, Wayne Koestenbaum, Eve Kosofsky Sedgwick, and others.

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The democracy of the image in the social landscape The saturation of our social landscape by photographs and photographers is apparent from any public point of view. Photography is arguably the most democratic of mediums, even more accessible today across culture and class than language. In some regards, this has been Lee Friedlander’s most enduring subject—the way that average citizens interact with the world by making pictures of it, as well as how those pictures and the pictures constructed for advertising or political purposes define the public space. In Lee Friedlander: The People’s Pictures we see photographs spanning six decades, most of the geographic United States and parts of Western Europe and Asia. These pictures are uniquely Friedlander photographs: as much about what’s in front of the camera as they are about the photographer’s lifelong redefining of the medium. Like his exploration of words, letters and numbers in the social landscape, these photographs of photography’s street presence seem inevitable to Friedlander’s vast visual orchestration of what our society looks like. But make no mistake, Friedlander’s photographs are not objective documents; they are intentional, authored, playful, intelligent creations made through his unprecedented collaboration with time and place. Lee Friedlander (born 1934) has published more than 50 monographs since 1969, and has exhibited extensively around the world for the past five decades, including a major retrospective at the Museum of Modern Art, New York, in 2005. Friedlander lives in New York.

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The Street Art Manual is the world's first book to combine practical advice and tactical guidance for creating 11 forms of street art in public space around the world.Every type of street art is covered, including graffiti, stencilling, subvertising, large scale murals, wheat pasting, urban projections, aerial art, yarn bombing, guerrilla theatre, banner drops and projectiles. Each technique is illustrated with step-by-step drawings and straight forward advice about what you need and how to do it.Written by award-winning artist, author and agitator Bill Posters, The Street Art Manual covers a diverse range of works by artists and collectives from across five continents, as well as legal information on Freedom of Expression, criminal damage and trespassing.Arm yourself with the tips and knowledge that no other guide will give you and go out and reclaim the streets in the name of urban creativity.About the authorsOver the last decade Bill Posters has worked alongside artists and activists to create some of the world's largest unlawful street art projects via the Brandalism project. In 2019 his project 'Spectre', which included a deep-fake video based on Mark Zuckerberg, received huge global media acclaim.Matt Bonner is a graphic artist, designer, and social justice campaigner. He works with campaigning groups and grassroots activists to use subversive art as a tool for progressive social change. In 2018 Matt designed the world-famous 'Trump Baby' blimp.

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Winner, Warren Dean Memorial Prize, Conference on Latin American History (CLAH), 2018Street vending has supplied the inhabitants of Rio de Janeiro with basic goods for several centuries. Once the province of African slaves and free blacks, street commerce became a site of expanded (mostly European) immigrant participation and shifting state regulations during the transition from enslaved to free labor and into the early post-abolition period. Street Occupations investigates how street vendors and state authorities negotiated this transition, during which vendors sought greater freedom to engage in commerce and authorities imposed new regulations in the name of modernity and progress.Examining ganhador (street worker) licenses, newspaper reports, and detention and court records, and considering the emergence of a protective association for vendors, Patricia Acerbi reveals that street sellers were not marginal urban dwellers in Rio but active participants in a debate over citizenship. In their struggles to sell freely throughout the Brazilian capital, vendors asserted their citizenship as urban participants with rights to the city and to the freedom of commerce. In tracing how vendors resisted efforts to police and repress their activities, Acerbi demonstrates the persistence of street commerce and vendors’ tireless activity in the city, which the law eventually accommodated through municipal street commerce regulation passed in 1924.A focused history of a crucial era of transition in Brazil, Street Occupations offers important new perspectives on patron-client relations, slavery and abolition, policing, the use of public space, the practice of free labor, the meaning of citizenship, and the formality and informality of work.

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2008 — Gold Award in Californiana – California Book Awards – Commonwealth Club of California 2010 — NACCS Book Award – National Association for Chicana and Chicano Studies City plazas worldwide are centers of cultural expression and artistic display. They are settings for everyday urban life where daily interactions, economic exchanges, and informal conversations occur, thereby creating a socially meaningful place at the core of a city. At the heart of historic Los Angeles, the Plaza represents a quintessential public space where real and imagined narratives overlap and provide as many questions as answers about the development of the city and what it means to be an Angeleno. The author, a social and cultural historian who specializes in nineteenth- and early twentieth-century Los Angeles, is well suited to explore the complex history and modern-day relevance of the Los Angeles Plaza. From its indigenous and colonial origins to the present day, Estrada explores the subject from an interdisciplinary and multiethnic perspective, delving into the pages of local newspapers, diaries and letters, and the personal memories of former and present Plaza residents, in order to examine the spatial and social dimensions of the Plaza over an extended period of time. The author contributes to the growing historiography of Los Angeles by providing a groundbreaking analysis of the original core of the city that covers a long span of time, space, and social relations. He examines the impact of change on the lives of ordinary people in a specific place, and how this change reflects the larger story of the city.

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Amid civil war, failing states, and terrorism, Arab liberals are growing in numbers and influence. Advocating a culture of equity, tolerance, good governance, and the rule of law, they work through some of the region’s largest media outlets to spread their ideals within the culture. Broadcasting Change analyzes this trend by portraying the intersection of media and politics in two Arab countries with seismic impact on the region and beyond. In Saudi Arabia, where hardline clerics silenced their opponents for generations, liberals now dominate the airwaves. Their success in weakening clerics’ grip over the public space would not only help develop the country; it would ensure that the birthplace of the prophet Muhammad exports a constructive understanding of Islam. In Egypt, home to a brutal government crackdown on Islamists and a bloodsport of attacks on Coptic Christians, local liberals are acting with courage on the ground and over the airwaves. Through TV talk shows, drama, and comedy, they play off the government’s anti-Islamist agenda to more thoughtfully advocate religious reform. Author Joseph Braude, himself a voice in Arabic-language broadcasts and publications, calls for international assistance to the region’s liberals, particularly in the realm of media. Local civic actors and some reform-minded autocrats welcome a new partnership with media experts and democratic governments in North America, European, and the Far East. Broadcasting Change argues that support for liberal reform through Arabic media should be construed as an international “public good” — on par with military peacekeeping and philanthropy.

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