This paper is an attempt to advances research on walking, at a neighbourhood level of analysis for people with disabilities, by proposing a theoretical model that combines the knowledge of two disciplines: traffic planning and environmental psychology. The aim is to provide a guidance for a discussion and a planning of future interdisciplinary investigations, by proposing a model that accounts for the dynamic interaction between environmental characteristics, human processes, and walking experience among individuals with a disability. For this (...) purpose, traffic planners and environmental psychologists came together to discuss theories, concepts, and thematic of relevance in a series of focus group meetings. These meetings led to the selection of the Human Environment Interaction (HEI) model, originally developed from the field of environmental psychology, and operationalised to describe how walking experiences result from the interplay between individual abilities, emotional processes and physical and social characteristics of the environment (Küller, 1991). The proposed model aims to sustain interdisciplinary discussion and research planning around the topic of neighbourhood walking for people with disabilities. By operationalising each dimension in the model, a good fit between groups with disabilities and individual differences associated with walking experiences is assumed, which in turn will have the potential to provide a more conscious analysis of wellbeing-related outcomes such as, usability of the environment, frequency of mobility, and quality of life. However, to improve understanding of urban walking at a neighbourhood level for people with disabilities, empirical studies must be carried out to test the proposed model. (shrink)

ABSTRACT Departing from the hegemonic position of epidemiology in population physical activity research and policy, I argue for the significance of a complementary, holistic approach: human movement ecology. The argument is developed in two steps. In a first step, and using perspectives from body ecology and eco-philosophy, I emphasize the potential in movement of a ’dynamic and spontaneous ecologization’, which opens for the development of ecological consciousness and sustainable practice. In a second step, I test HME towards a ’hard case’: (...) everyday routine walking in urban settings. Even here, and paying particular attention to the nature of habitual movement and the need for a ’greening’ of urban environments, I point to a significant movement ecological potential. I conclude that HME provides a fertile and complementary conceptual alternative to PA epidemiology. The challenge of low population PA levels is probably best met with facilitating for movement as an integral part of a sustainable everyday life. Actually, with an increased realization of HME ideals in practice, instrumental PA policies would become less relevant and, on a longer-term basis, perhaps not needed at all. (shrink)

Innovative forms of green urban architecture aim to combine food, production, and design to produce food on a larger scale in and on buildings in urban areas. It includes rooftop gardens, rooftop greenhouses, indoor farms, and other building-related forms. This study uses the framework of sustainability to understand the role of ZFarming in future urban food production and to review the major benefits and limitations. The results are based on an analysis of 96 documents published in accessible (...) international resources. The analysis shows that ZFarming has multiple functions and produces a range of non-food and non-market goods that may have positive impacts on the urban setting. It promises environmental benefits resulting from the saving and recycling of resources and reduced food miles. Social advantages include improving community food security, the provision of educational facilities, linking consumers to food production, and serving as a design inspiration. In economic terms it provides potential public benefits and commodity outputs. However, managing ZFarming faces several challenges. For some applications, the required technologies are known but have not been used or combined in that way before; others will need entirely new materials or cultivation techniques. Further critical aspects are the problem of high investment costs, exclusionary effects, and a lack of acceptance. In conclusion, ZFarming is seen as an outside-the-box solution which has some potential in generating win–win scenarios in cities. Nevertheless, ZFarming practices are not in and of themselves sustainable and need to be managed properly. (shrink)

This paper focuses on the concept of the flâneur, deriving largely from the works of Baudelaire and Walter Benjamin, and attempts to reveal its contemporary relevance for sociological practice. The flâneur is treated as an instructive metaphor for the sociologist's relationship with modernity and urban life, and therefore as providing insight into the social, historical and theoretical contexts for the analysis of the world today. More than this, the idea of the flâneur is treated as highly instructive of research (...) strategies confronting urban life, namely ethnography. The paper seeks to expose a critical space between ‘realist’ and ‘textual’ ethnographies and provide a locus for the discussion of associated methodological problems. A burgeoning literature and tradition of work in this area is examined which will also be of interest to the sociological theorist. (shrink)

This article provides an analysis of the perception of fear in nightlife spaces, its relationship with sexual violence and the strategies that young people implement to combat these situations in two provinces of Andalusia, Spain. To this end, qualitative research was carried out through in-depth interviews and discussion groups with 73 boys and girls between the ages of 16 and 22. The article asserts that there are gender differences in the spaces of fear. Girls are the ones who experience fear (...) the most when they walk alone, and at specific times – a feeling that is made worse in specific public spaces. The study results show that girls’ fear is associated with sexual assault and boys’ fear with robberies or fights. Results show that three main types of strategies are used in the face of these fears: avoidance, confronting risks and empowerment. All these strategies include the use of new communication technologies. This article seeks to provide a theoretical contribution to enhancing a gender perspective in the field of urban geography. (shrink)

This paper is an ethnographic study of everyday walking practice in the city. The research was conducted in 2014-2015 in selected streets of Brno city and was based on a hybrid method of shared walking (go-along) coupled with observations and semi-structured interviews. As urban walking is recognized as a significant mode of travel, this paper aims to expand existing knowledge by contributing qualitative data. The key influence is the work of Michel de Certeau (1984) who understands (...) walking as a practice of everyday life. Everyday walking helps shape physical spaces and this subsequently affects human behavior. In this article I will discuss how people relate to walking, how they act in urban space and what importance they attach to their behavior. Another aim is to ascertain how pedestrians behave while performing their everyday routine and how they interact with drivers and cyclists. (shrink)

"Artists are trying to move away from the influence of competitive corporate culture that has increasingly defined art as an abrasive urban career. Artists are trying to replace this with the humbler notion of art as a practice, as a mindful way of life, consisting of consciously creative gestures, visible and invisible, large and small. Art practice is a private and public, selfless and generous, creative life process resulting in a conscious cultural product." "Walking Art Practice" brings together (...) the author's experiences as a monk, performance artist, social choreographer and educator. It serves as a provocation, walkers' manifesto, and teaching guide for walking as a mindful cultural activity and as mindful cultural activism. It is an inspirational text for artists, art students and anyone who loves to walk. Ernesto Pujol combines elements from an art book, field journal and walkers' manifesto. It is a text for performative artists, art students, and all who walk as cultural activism. This book is an invitation to: Rethink what it means to walk and explore different ways in which to walk as: a cultural practice; a meditative practice; a radical practice; art; healing; and social engagement; Reconsider how to attend to the inner and outer landscape whilst walking; Treat walking as a performance resource; Walk as an everyday pilgrimage; Walk slowly, walk in and with awareness, walk with and without skill, walk to regain and to lose. [Subject: Performance Art, Walking, Meditation]. (shrink)

There are many ways to describe cities. As a physical environment, more so than many other environments, they are at least an extension of our present intentions. But cities are not confined to the moment. Built spaces are also in conversation with the past and oriented toward the future as physical manifestations of our values and priorities. But even with all of the ways we have to describe cities we do not normally think of them as in any way akin (...) to the “natural” environment. City and country, nature and culture, are opposed. We move through cities differently, with a different set of values, whether articulated or not. Consider just one small example: Even the most jaded urban dweller may hesitate to sully the environment around him when he perceives it to be something other than a product of the human community. Though we have all seen trash in a national park, we suspect (or at least hope) that there is a kind of hesitancy that occurs with a person wondering what to do with her candy wrappers on a trail in Yosemite. On the other hand, a visitor to my home, Greenwich Village, will usually not think twice about tossing his cigarette butts on the ground as he walks toward his next destination. (shrink)

Bringing together a genealogy of authors, concepts, and aesthetic case studies, this article aims to contribute to the discussion on ordinary aesthetics by focusing on the tensions that are intrinsic to walking as a fundamental embodied action in everyday urban life. These tensions concern the movement of walking itself and its relation to one’s surroundings, but it also concerns a certain complementarity between home (familiarity) and wandering. Experiencing space and thresholds that disrupt one’s relationship with home and (...) the everyday can be understood as part of a modern “anti-home” tendency that lies at the core of several artistic and aesthetic practices. On the other hand, the study of walking and its relationship with the ordinary has also been enhanced and complexified by the mediation of images and technologies of reproduction. Approaching the paradoxes and ambiguities of everydayness from the perspective of walking allows us to better understand the ordinary as an in-between concept composed of evidence and mystery, familiarity and strangeness. Walking itself, as an ordinary element of life, is an unstable stabilisation, an unconsciousness that may become awareness, an immersive action that knows interruptions, a way of repeating paths that can also lead to detours and discoveries. (shrink)

This article looks at the discursive and practical construction of walking in a British context. It examines the ways in which notions and practices generated by conventions around the meaning of walking in the countryside apparently contradict prevailing ideas that walking is an escape from the restrictions of everyday urban life. Identifying particular, competing forms of walking and the techniques and identities that they espouse, it is suggested that such activities are suffused with disciplinary norms. (...) Yet despite these conventions, walking holds out the possibility of disruption, through confrontation with physical discomfort, unpredictable features and sensual experience that contrasts with much contemporary forms of movement. The work of artist Richard Long is used to explore these issues. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophers' Walks by Bruce BaughTim IngoldBaugh, Bruce. Philosophers' Walks. Routledge, 2022. 252pp.Yesterday evening, much to my satisfaction, I finished reading Bruce Baugh's Philosophers' Walks. The author ends by putting down his pen. It is time, he declares, "to put my boots on and walk out into the world" (236). For me, it was bedtime, but knowing that I was to write this review, I resolved to sleep on (...) it. On waking, I set out, as is my wont, for the short walk I take every morning before breakfast. The walk itself is nothing special: it takes in the streets of my neighborhood and a nearby park. Yet every day is different as the weather changes, trees come in and out of leaf, blooms flourish and wilt in front gardens, children on their way to school throng the streets in term-time only to vanish in vacations. Lately, a nineteenth-century fountain in the park has been lovingly restored, and every morning I am refreshed by its water-jets and tinkly sound. Most days I am writing in my head, on whatever I have on the go at the time. Walking briskly and on my own, I find that words that had tied me in knots the day before miraculously straighten themselves out with a rhythm and fluency matching my pace. I cannot, however, walk and write at the same time. It is physically impossible. So as the words come, I have to keep repeating them to myself, until I make it home. With no time to lose, I seize notebook, pencil, and spectacles to jot them down. Only when I have done so can I finally sit down to breakfast. And that's exactly what happened this morning. With my hastily scribbled notes, some good words, and the odd finished sentence, I am ready to write this review.I am not, of course, the first to have discovered the benefits of thinking-while-walking. Countless predecessors have done so before me, including some of the most celebrated figures of the past four centuries of European intellectual history. And so has Baugh. The idea behind his book is that if by walking, philosophers have arrived at many of their most cherished insights, then perhaps we could better take the measure of these insights not merely by reading their words but by retracing their steps, walking the same paths as they did. And this, precisely, is what [End Page 131] Baugh, often accompanied by his wife Diane Lindsay, set out to do. Each chapter, barring the introduction and conclusion, is devoted to one or sometimes two characters, and each blends reflection on their ideas and life-histories of walking with the author's recollection of attempting to follow in their footsteps, and of the experience and even self-knowledge gained from doing so. Some walks are in verdant countryside, or more spectacular Alpine scenery, others are in big cities like London and Paris. Baugh does not pretend that the walks of his chosen characters can be replicated exactly when so much has changed, in both rural areas and the urban fabric, since their heydays. Nor can we ever know exactly what was going through their heads at the time. It is nevertheless surprising how many echoes you can pick up from the past, so long as you keep your ears to the ground, and Baugh is an astute listener. For us, his readers, the book is an invitation to join in his travels, albeit at a distance, and by doing so, to enrich our understanding not only of his characters and of how they thought, but of ourselves as well.Though the book is called Philosophers' Walks, Baugh has cast his net wide to include characters for whom the epithet "poet," "artist," or "writer" might sooner come to mind than "philosopher." No matter: all such labels are a touch arbitrary, and it's the thought that counts. So here they are, in chronological order (not the order in which they appear in the book): Pierre Grassendi, Jean-Jacques Rousseau, Samuel Taylor Coleridge, Søren Kierkegaard, Friedrich Nietzsche, Virginia Woolf, André Breton, Jean-Paul Sartre, Simone de... (shrink)

Urban dwellers are more likely to develop mental disorders such as mood and anxiety disorder as well as schizophrenia compared to rural dwellers. Moreover, it has been demonstrated that even short-term exposure to nature can improve mood and decrease stress, but the underlying neural mechanisms are currently under investigation. In the present intervention study we examined the effects of a one-hour walk in an urban vs. natural environment on activity in the amygdala, a brain region previously associated with (...) stress processing. Before and after the walk 63 participants underwent an fMRI paradigm inducing social stress. Since there is a pronounced gap in the literature regarding interindividual differences in stress-related neural effects of urban and natural environments, we set out to explore sex differences. We observed that amygdala activity decreased after the walk in nature, but only in women, suggesting that women may profit more from salutogenic effects of nature. Moreover, performance on the arithmetic tasks improved in women after the walk in nature, whereas men performed better after the walk in the urban environment. To our knowledge, this is the first study to report differencial tendencies in men and women concerning the stress-related neural activity as an effect of acute exposure to urban vs. natural environments. Furthermore, our findings highlight the importance of sex differences when exploring effects of the environment on brain function and stress. Evidence for beneficial effects of nature on stress-related brain regions may inform urban design policies to focus on providing more accessible green areas in cities and this study suggests that sex differences in experiencing the environment should be taken into consideration. (shrink)

Around 750 a.d., new settlements in Chaco Canyon in the Southwest United States began moving toward intensified urban form, monumental architecture, and increased hierarchical social organization that bordered on nation-state authority. But around 1140 a.d., the relatively concentrated populations in Chaco Canyon dispersed over just a few generations. At new destinations emigrants from the canyon did not reinstate the urban intensities and political hierarchies that had dominated there. Four lessons from this history can be drawn. First, the model (...) of social and political coordination that best fits the history of Chaco Canyon is one of escalating and deescalating gift-giving. Models that instead appeal to purely transactional relations, such as contracts, are historically and philosophically inadequate. Second, and more broadly, the real power of any well-functioning, complex, and urbanized society must be a reserve of generalized social trust. This was true then, and remains true today. Third, while environmental pressures play important roles in the formation of foundational urban settlements such as those in Chaco Canyon, we should be careful not to explain too much by them. As then, our own environmental challenges call upon us to nurture political arrangements, especially in our cities, that can address environmental constraints and challenges. Except perhaps when circumstances become impossibly dire, we should treat environmental constraints as the boundaries into which we must fit ourselves through political means. Finally, philosophers should investigate developments in historical urban settlements. Such cases are indispensable for understanding human cooperation, forms of social authority, and environmental decision making. (shrink)

Cities as we know them are built on layers of their own pasts. Moreover, cities remember themselves by preserving historic buildings, erecting statues, writing history into the names of streets, and otherwise conserving and commemorating local heritage. With widespread computerisation and computer networks come new and diverse layers of the city: digital geographies that overlie physical urban sprawl. The city of tomorrow will blend data deeply into its culture and administration; the day after tomorrow, such data will have joined (...) the layers of its historic past. Digitisation promises to become so intimately involved in the city that its layers of data invite consideration as part of the city itself. This chapter traces how the cultural geography of a city will encompass its digital geography, and what the limitless layers of networked data portend for the cultural significance of public urban space. (shrink)

BackgroundLight to moderate physical activity, which includes walking, is associated with positive effects on physical and mental health. However, concerning mental health, social and physical environmental factors are likely to play an important role in this association. This study investigates person-place interactions between environmental characteristics and momentary affective states during walking episodes. A within-subject design is implemented, in which affective states and environmental characteristics are assessed while participants are walking outside.MethodsOn smartphones, coupled with a motion sensor, e-diaries (...) were triggered as soon as people walked 100 m outside. E-diaries assessed momentary affective states, and social interaction between 6 am and 10 pm over nine days. The percentage of greenness was determined afterward from recorded GPS and GIS data. Demographics were collected in advance via an online questionnaire. Multilevel models were calculated with R for 46 individuals.ResultsAffective state dimension energetic arousal showed a significant association with social interaction and greenness, i.e., participants rated energetic arousal lower when walking alone, and if there was less greenness vs. when interacting shortly with someone while walking, and being in situations with more greenness. Furthermore, associations with social interaction and greenness were found for dimension calmness: walking together with someone was associated with higher calmness, and the higher the proportion of surrounding greenness during a walk, the higher calmness was rated, i.e., participants were calmer. Significant associations with valence were not present.ConclusionThe findings indicate that the affective states varied significantly due to different social and physical environmental factors. In the future, the importance of environmental factors should be further investigated, e.g., by assessing environmental factors right in situations contrary to a subsequent imputation. Within-subject designs, and in particular triggered assessments with the addition of GPS, can aid in developing interventions for health-promoting urban environments. (shrink)

Access to urban green space is associated with the enhancement of health and disparities in access generate issues of spatial equity and socioenvironmental justice. The aim of this study is to measure spatial accessibility and investigate access disparities to UGSs in urban areas of Harbin, China. A Gaussian-based two-step floating catchment area method and spatial autocorrelation analysis were used to measure the accessibility and evaluate its distribution patterns in residential tracts. Bivariate correlation was employed to examine the statistical (...) relations between demographic characteristics of residential tracts and green space access. The results show that most residential tracts have minimal green space access within walking distance, while a few have limited access within cycling distance. Additionally, spatial disparities were found with low-accessibility tracts clustering in the center of the city, while high-accessibility tracts were located in northern and southern suburbs. Demographic disparities were also identified in the study: females have less access to UGS than males, areas with a high birth rate generally have more access, and population density is negatively associated with UGS access. The findings not only indicate that Harbin has an uneven distribution and disproportionate provision of UGS for urban residents but also identify which areas and population groups within the city are disadvantaged in access to UGS and thus provide suggestions for future construction and provision of UGS. (shrink)

Riverlands of the Anthropocene invites readers into universal questions about human relations with rivers and water for the precarious times of the Anthropocene. The book asks how humans can learn through sensory embodied encounters with local waterways that shape the architecture of cities and make global connections with environments everywhere. The book considers human becomings with urban waterways to address some of the major conceptual challenges of the Anthropocene, through stories of trauma and healing, environmental activism, and encounters with (...) the living beings that inhabit waterways. The book's unique contribution is to bring together Australian Aboriginal knowledges with contemporary western, new materialist, posthuman, and Deleuzean philosophies. It foregrounds how visual, creative and artistic forms can assist us in thinking beyond the constraints of western thought to enable other modes of being and knowing the world for an unpredictable future. Riverlands of the Anthropocene will be of particular interest to those studying the Anthropocene through the lenses of environmental humanities, environmental education, philosophy, ecofeminism and cultural studies. (shrink)

This article focuses on images of walking in Agnès Varda's films – Cléo de 5 à 7 (1962), Sans toit ni loi (1985), and Les Plages d’Agnès (2008). The activity of walking (as urban flânerie, circular travelling or walking backwards) is central to these films, and can be seen as a corporeal practice that not only interweaves striated and smooth spaces but also offer a gender-sensitive, political contemplation on the forces of striation and smoothing as well (...) as a re-invention of space. The women in movement in Varda's films embody a transgression of stratified territories such as the image-oriented society of the spectacle in Cléo, myths of adolescence and settled living in Sans toit ni loi, or the boundaries of aging in Les Plages d'Agnès. (shrink)

Voice-assistants are becoming increasingly popular and can be deployed to offers a low-cost tool that can support and potentially reduce falls, injuries, and accidents faced by older people within the age of 65 and older. But, irrespective of the mobility and walkability challenges faced by the aging population, studies that employed Artificial Intelligence (AI)-based voice-assistants to reduce risks faced by older people when they use public transportation and walk in built environment are scarce. This is because the development of AI-based (...) voice-assistants suitable for the mobility domain presents several techno–social challenges. Accordingly, this study aims to identify _user-centered_ service design and functional requirements, techno–social factors, and further design an architectural model for an AI-based voice-assistants that provide personalized recommendation to reduce falls, injuries, and accidents faced by older people. Accordingly, a scoping review of the literature grounded on secondary data from 59 studies was conducted and descriptive analysis of the literature and content-related analysis of the literature was carried out. Findings from this study presents the perceived techno-socio factors that may influences older people use of AI-based voice-assistants. More importantly, this study presents user-centred service design and functional requirements needed to be considered in developing voice-assistants suitable for older people. Implications from this study provides AI techniques for implementing voice-assistants that provide safe mobility, walkability, and wayfinding for older people in urban areas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theology from the Trenches: Reflections on Urban Ministry by Roger J. GenchNichole M. FloresTheology from the Trenches: Reflections on Urban Ministry Roger J. Gench LOUISVILLE, KY: WESTMINSTER JOHN KNOX PRESS, 2014. 151 PP. $17.00Beginning from reflections on his own lived experience of pastoral ministry in Baltimore and Washington, DC, Roger Gench engages both the theological and practical dimensions of community organizing, especially as this work relates (...) to the orienting principles of the Industrial Areas Foundation (IAF). Gench first asserts the necessity of continual articulation of theological reasons for public engagement before elaborating some crucial theological aspects of the IAF's core principles. Gench's commitment to theological justification for IAF principles is especially evident in his treatment of the theme of self-interest as underpinning for organizing in religious communities. He interprets self-interest within the practical and theological context of relationship. Within the IAF worldview, individuals come to greater self-understanding only in conversation with others. Gench uncovers the relational demands of self-interest based on the practical dimensions of uncovering self-interest.Gench offers several rich images that illuminate his theological vision for urban ministry. The first is the "cruciform covenant," which springs forth from brokenness and devastation while moving toward justice and restoration. Cruciformity draws attention to abuses of power in the urban environment and underscores God's promise of personal and social redemption. Thus, the cruciform covenant gestures to the ways that God reaches out to humans amid brokenness rather than an assertion of God's wrathful judgment on humanity. Another helpful theological image in this text is the "three-legged stool"—the integration of mind, will, and heart—which offers an accessible theological anthropology of human wholeness and flourishing as a resource in the struggle for justice. Gench contends that a justice-oriented ministry requires engagement of multidimensional personhood, an anthropology crucial for forging public dialogue and fostering effective community organizing.Gench's text excels at knitting together ethics and practical reflection within the context of the urban parish. The author's relatable and authentic voice gives the text the feel of a narrative, one that keeps the pages turning and keeps the reader involved in the outcome of the various campaigns. One might even walk away from the text convinced of the necessity of urban parishes to become involved in local campaigns for justice. Gench's perspective is deeply and [End Page 197] authentically Reformed but with an eye toward ecumenical and interreligious cooperation in campaigns based on self-interest and oriented toward the common good. The text sometimes struggles to gain critical distance from the IAF model even as it acknowledges human sin, finitude, and the risks associated with the exercise of self-interested politics. Still, its ecumenical methodology makes it an attractive option for a broad range of Christian communities seeking to organize around social justice issues.Gench writes in an accessible manner, reflecting on his own experiences of pastoral ministry in two different urban contexts. For this reason, his work will be of particular interest to those engaged in, preparing for, or studying community organizing in an ecclesial setting. The questions and practical meditations at the end of each chapter make this an engaging text for seminary students, congregations, and religious organizers seeking to situate political engagement within a Reformed theological framework. The text will also be of great interest to religious and theological ethicists examining grassroots organizing practices and theological approaches to themes of solidarity, participation, justice, and workers' rights.Nichole M. FloresUniversity of VirginiaCopyright © 2017 Society of Christian Ethics... (shrink)

Almost simultaneous emergence of Existentialism and Marxism at end of the Little Ice Age had coincided with rapid urbanization and prevalence of mood disorder in northern Europe. This historic configuration is cast against Relph’s notion of place in his critique of urban planning. During the LIA street walking had mitigated mood disorder triggered by sunlight deprivation of indoor spaces while, at the same time, it had also buoyed a place. It was the unplanned place in the open air—a (...) dilapidated street corner in St. Petersburg or Romanesque streetscape of Old Copenhagen—that offered authenticity, cerebral restitution, and for ardent minds also discernment and acumen. Relph’s critique continues to be of pressing relevance to winter-cities designed for automotive access, and also for the interpretation it offers on the thought and events of the late LIA and following it. (shrink)

In the era of the global village, crowd sourcing as a new model of service outsourcing is increasingly being valued by all walks of life. This study uses the data envelopment analysis method to explain the crowd sourcing competitiveness of service outsourcing base cities by using input-output efficiency. The crowd sourcing competitiveness among crowd sourcing base cities is organized and analyzed by collating and analyzing the data of 21 service outsourcing base cities in China from 2016 to 2019. The results (...) show that there is no significant difference in the competitiveness of 21 service outsourcing, the overall trend is that the competitiveness of crowd sourcing is not strong, the match between input and output is not high. Comparatively speaking, Beijing, Shanghai, Nanjing, Hangzhou, Suzhou and Wuxi are more competitive in crowd sourcing. Combining with the reality of China's economic development, taking the road of crowd sourcing with Chinese characteristics is a good choice for the development of China's crowd sourcing industry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theology from the Trenches: Reflections on Urban Ministry by Roger J. GenchNichole M. FloresTheology from the Trenches: Reflections on Urban Ministry Roger J. Gench LOUISVILLE, KY: WESTMINSTER JOHN KNOX PRESS, 2014. 151 PP. $17.00Beginning from reflections on his own lived experience of pastoral ministry in Baltimore and Washington, DC, Roger Gench engages both the theological and practical dimensions of community organizing, especially as this work relates (...) to the orienting principles of the Industrial Areas Foundation (IAF). Gench first asserts the necessity of continual articulation of theological reasons for public engagement before elaborating some crucial theological aspects of the IAF's core principles. Gench's commitment to theological justification for IAF principles is especially evident in his treatment of the theme of self-interest as underpinning for organizing in religious communities. He interprets self-interest within the practical and theological context of relationship. Within the IAF worldview, individuals come to greater self-understanding only in conversation with others. Gench uncovers the relational demands of self-interest based on the practical dimensions of uncovering self-interest.Gench offers several rich images that illuminate his theological vision for urban ministry. The first is the "cruciform covenant," which springs forth from brokenness and devastation while moving toward justice and restoration. Cruciformity draws attention to abuses of power in the urban environment and underscores God's promise of personal and social redemption. Thus, the cruciform covenant gestures to the ways that God reaches out to humans amid brokenness rather than an assertion of God's wrathful judgment on humanity. Another helpful theological image in this text is the "three-legged stool"—the integration of mind, will, and heart—which offers an accessible theological anthropology of human wholeness and flourishing as a resource in the struggle for justice. Gench contends that a justice-oriented ministry requires engagement of multidimensional personhood, an anthropology crucial for forging public dialogue and fostering effective community organizing.Gench's text excels at knitting together ethics and practical reflection within the context of the urban parish. The author's relatable and authentic voice gives the text the feel of a narrative, one that keeps the pages turning and keeps the reader involved in the outcome of the various campaigns. One might even walk away from the text convinced of the necessity of urban parishes to become involved in local campaigns for justice. Gench's perspective is deeply and [End Page 197] authentically Reformed but with an eye toward ecumenical and interreligious cooperation in campaigns based on self-interest and oriented toward the common good. The text sometimes struggles to gain critical distance from the IAF model even as it acknowledges human sin, finitude, and the risks associated with the exercise of self-interested politics. Still, its ecumenical methodology makes it an attractive option for a broad range of Christian communities seeking to organize around social justice issues.Gench writes in an accessible manner, reflecting on his own experiences of pastoral ministry in two different urban contexts. For this reason, his work will be of particular interest to those engaged in, preparing for, or studying community organizing in an ecclesial setting. The questions and practical meditations at the end of each chapter make this an engaging text for seminary students, congregations, and religious organizers seeking to situate political engagement within a Reformed theological framework. The text will also be of great interest to religious and theological ethicists examining grassroots organizing practices and theological approaches to themes of solidarity, participation, justice, and workers' rights.Nichole M. FloresUniversity of VirginiaCopyright © 2017 Society of Christian Ethics... (shrink)

This book explores how the weather and city-form impact the mind, and how city-form and mind interact. It builds on Merleau-Ponty's contention that mind, the human body and the environment are intertwined in a singular composite, and on Walter Benjamin's suggestion that mind and city-form, in mutual interaction, through history, have set the course of civilization. Bringing together the fields of philosophy, urbanism, geography, history, and architecture, the book shows the association of existentialism with prevalence of mood disorder in Northern (...) Europe at the close of Little Ice Age. It explains the implications of city-form and traces the role of the myths and allegories of urban design as well as the history of gender projection onto city-form. It shows how urbanization in Northern Europe provided easier access to shelter, yet resulted in sunlight deprivation, and yielded increasing incidence of depression and other mental disorder among the European middle-class. The book uses the examples of Kierkegaard, Nietzsche, Dostoevsky and Kafka, to show how walking through the streets, squares and other urban voids became the informal remedy to mood disorder, a prominent trait among founders of modern Existentialism. It concludes by describing how the connection of anguish and violence is relevant to winter depression in cities, in North America in particular. (shrink)

‘Eruv’ is a Hebrew word meaning literally ‘mixture’ or ‘mingling’. An eruv is an urban region demarcated within a larger urban region by means of a boundary made up of telephone wires or similar markers. Through the creation of the eruv, the smaller region is turned symbolically (halachically = according to Jewish law) into a private domain. So long as they remain within the boundaries of the eruv, Orthodox Jews may engage in activities that would otherwise be prohibited (...) on the Sabbath, such as pushing prams or wheelchairs, or carrying walking sticks. There are eruvim in many towns and university campuses throughout the world. There are five eruvim in Chicago, five in Brooklyn, twenty three in Queens and Long Island, and at least three in Manhattan. The US Supreme Court is (like most other major US Federal Government buildings) located within the eruv of Washington DC. In many cases, not all of those living within or near the area of an actual or proposed eruv will themselves be Orthodox Jews, and this has sometimes led to protests against eruv creation. It is such protests which triggered the writing of this essay. (shrink)

Artworks are seen here as presenting themselves as a means by which to navigate and plot the city for a writing interlocutor; The examples discussed reveat a plethora of emergent forms which are concentrated into three key modalities of urban arts practice in the twenty-first century walking play and cultural memory walking includes the talked walks of artist such as Richard Wentworth, the generative street incursions of Francis Alys, and the walking spectator at a site-based event, (...) including works by Gustv Metzger, Mark Wallinger and Pavel Althamer. Play embraces popular instances of mass public mobilisation in the form of flash mobs and mobile clubbing as well as ̀creative interventions such as free ranning, graffin writing and video sniffing, which reveal themselves to be engaged increasingly in a dialogue with the ̀high art' of artists like Antony Gomely, Mark Quinn and Carsten Holler. Cultural memory is considered via the burgeoning cases of holocaust installations, interrogating two of the best-known- and controversial-European urban sites from the point of view of the physical encounters that they implicity invite Peter Eisenman's memorial in Bertin and Rachel Whitereads' in Vienna. --Book Jacket. (shrink)

The first annual Alchemy Lecture brings four deep and agile writers from different geographies and disciplines into vibrant conversation on a topic of urgent relevance: humans and borders. Borders, Human Itineraries, and All Our Relation captures and expands those conversations in insightful, passionate ways. Architect, artist, and urban theorist Dele Adeyemo (UK/Nigeria) calls attention to the complexity of Black infrastructures, questioning how "the environments that surround us condition the possibility of our being." Poet Natalie Diaz (US/Mojave/Akimel O'otham) writes: "Like (...) story, migration is the sensual movement of knowledge," and asks, "What is the language we need to live right now?" Philosopher Nadia Yala Kisukidi (France) suggests there is no diasporic life "without the dynamics of fabulation, where we pass down, from generation to generation, the stories of our ancestors who walked barefoot for many months." And cultural theorist Rinaldo Walcott (Canada) asks us to consider inheritances beyond white supremacist logics: "What might it mean to live a life, if we can't risk desiring and working towards utopia?" As each Alchemist considers the legacies of anticolonial struggle, the future of the planet, and the textures of Black and Indigenous life, their essays speak to each other in multiple ways, creating something startling and revelatory: a vision of the world as it is, and as it could be. (shrink)

The purpose of this article is to compare several street typologies (distributed from center to suburb) in Tirana, Albania while taking into consideration pedestrian behavior on these pathways. The streets "Myslym Shyri," "Bllok," "Kombinat" (an extension of Kavaja's Street), and "Ana Komnena" (formerly "Fusha e Aviacionit") will be the primary focus of this study. The following variables will be taken into account such as pedestrian behaviors, street identity, dissatisfaction, walking distance when shifting to another zone, effects of greenery on (...) pedestrians, time spent, points of interest, frequency, pavement quality, preferred walking periods, gathering places, utilization of benches, ambulant sellers, impact of vegetation and greenery, water basins, preference for public transportation, and road signs. Direct observations and a questionnaire will be used to determine the accurate information. The study should provide recommendations as guidance for municipalities and stakeholders to better understand the behavior of pedestrians in Tirana’s context. The streets that pedestrians frequent the most include the "Bllok" area and "Myslym Shyri" Street. The pedestrian resident population on "Myslym Shyri" street, which is dominated by people of all ages, including children, youth, and the elderly, has a slight advantage over the "Bllok" neighborhood. Furthermore, there is a wide variety of urban elements on Ana Komnena Street (formerly known as "Fusha e Aviacionit"). Meanwhile, the pedestrians on Kombinati’s street suffer a little bit more because of the traffic congestion and vehicle pollution. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Questioning the Motives of Habituated Action:Burke and Bourdieu on PracticeDana AndersonThe British official's habit, in the Empire's remotest spots, of dressing for dinner is in effect the transporting of an idol, the vessel of a motive that has its sanctuary in the homeland.—Kenneth Burke, A Grammar of Motives, 44In his recent Kenneth Burke and the Conversation after Philosophy, Timothy Crusius locates Burke in the context of "PostPhilosophical" thought by (...) describing Burke's expansive Dramatistic project as a praxis—as a program encompassing "any act whatsoever, including symbolic action (i.e., expression, whether artistic or discursive), in behalf of a better life." When praxis is conceived broadly as a dialectical perspective on human action—that agents and structures interact in mutually determining ways—the term becomes, in fact, an accurate summary of the entire Burkean corpus: "If we understand it as Burke does," Crusius continues, "all that he wrote is praxis" (1999, 198). This panoramic scope of Burke's dialectical inquiry is certainly one reason it remains rhetorical theory's perhaps most flexible and productive framework for considering human action; the Dramatistic pentad and its ratios for discussing the attribution of motive continue to invite theoretical "ways of placement" as multifaceted as human motives themselves.Speaking of Burke's work in terms of praxis, however, at least in the term's contemporary critical usage,1 raises a question regarding a cognate concept that the idea of praxis entails: in what sense is Burke's pentadic grammar of action equipped to consider the habituated actions characteristic of human practice?Practice, as a conceptual descendant of Marxian praxis, retains a connection with what Marx called "human sensuous activity" (1968, 28-30).2 In its most general sense, practice refers to the regular and repeated activities of agents that, in their quotidian enactment, dialectically [End Page 255] constitute an agent's sense of self and of reality in relation to external conditions of existence. While the activities of agents will tend to reify the dominant external conditions in which agents act, these external conditions are nonetheless open to change inasmuch as the evolving practices of individuals might come to challenge them. This perspective of the determined, yet determining nature of human practice is aptly summarized in The German Ideology, where Marx and Engels famously argue that "circumstances make men just as much as men make circumstances" (2000, 189).3 As Michel de Certeau's seminal studies of practice have demonstrated (de Certeau 1984; de Certeau, Giard, and Mayol 1998), the power of this relationship of mutual constitution between individuals and their worlds of external circumstances owes directly to the banality of the actions through which such constitution is accomplished—actions ranging from the way bread is served in a given household, to the way cosmetics are purchased in department stores, to the general "ways of operating" in urban spaces, including simply walking in one's own neighborhood (de Certeau, Giard, and Mayol 1998; Mayol 1998, 7-13). As Judith Butler very poignantly summarizes, it is through precisely such "embodied rituals of everydayness," however "taken-for-granted" they may be, that "a given culture produces and sustains belief in its own 'obviousness' " (1999, 113-14).The constitutive dynamics of such practical actions should surely figure prominently into any conception of Burke's work as praxis. Indeed, this dynamic is already implicit in the fact that, for Burke, it is only through the possibility of mutually transforming both ourselves and our worlds through actions material and symbolic that we might begin to move toward a better life. But while Dramatism and practice rest on similar perspectives of the dialectically constitutive nature of human action, several aspects of the grammar through which Burke investigates motive might appear to limit, or even to preclude, the Dramatistic examination of practice as a kind of motivated action. More specifically, Burke's consistent "anti-Behaviorist" emphasis on the conscious or purposive nature of action questions the extent to which Dramatism can account for the dispositional and habituated actions characteristic of practice, actions for which agents would be least able to articulate conscious purposes. To cast the issue in the context of my epigraph above... (shrink)

After the horrendous events of September 2001, photographer Peter Elliott loaded his cameras and some clothes into his car and began a cross-country journey, looking for the flag. He found it everywhere: painted on a retaining wall in Tacoma, flying over a trailer in Bozeman, carried billowing by a lone man walking a sandbar in Florida, made of plastic cups stuck in a fence in Mississippi, draped over a fake horse in Salinas, immaculately hanging from a Beverly Hills mansion's (...) window. Home Front is both a tribute to the profound emotions of the country and a testament to Elliott's eye. His genius in these eighty-seven arresting images is to wed these serendipitous meetings with the flag to a language of light and composition that draws as much from classic landscape photography as it does from urban visual idioms. Elliott manages to convey here America's stirring and complex national character, one in which those who have not benefited from the nation's prosperity nonetheless feel the same sense of pride as those who have. With its inspiring introduction by Julia Reed, Home Front is the record—both somber and joyous—of Elliott's encounters with spontaneous patriotism. (shrink)

Text of a response to a paper by Linda Lai - ‘Presencing the past, a montage experience: walking through a series of temporal nodes’ - at Urban Encounters 2017: Cartographies, Clore Auditorium, Tate Britain, November 11 2017.

In lieu of an abstract, here is a brief excerpt of the content:Hurricane Gloria LAWRENCE DUGAN A screaming northern gale flew past his wild words And slammed the sails, and pulled a wave toward heaven. —Aeneid, i.102–3 (Sarah Ruden, trans.) i. A phalanx of weather tools at the door, A shovel, an ice-pick, an umbrella, A new cane, leaning against each other, Plastic fabricated to resist storms, Reminds me of a storm I rode out years ago, The Nor’easter of 1985, (...) On the twenty-first floor of 5 Penn Center Across the street from where the Fox Theater Spread the bright wings of its marquee, folded Now forever, torn down, and then replaced With a glass-box not unlike the office I looked out of, watching the rain lashing Windows, tearing at the flags hung on poles On other buildings, solitary banners Left up as if to challenge the weather To do its worst, to refute the young storm Tearing northeast out of the Atlantic, Predicted only a few days before As a hurricane, that didn’t happen, But leaving the high-rise building nearly Deserted, with the ticker still running Across the wall; the market had opened Empty office or not, unoccupied Desks giving it that strange quietude Peculiar to such spaces, which the mind Expects to be filled, even while seeing Otherwise. arion 28.2 fall 2020 66 hurricane gloria I felt like a sailor for The only time in my life, stepping off The elevator at 21, and then Walking into the main hall and sensing The building swayed slighty, barely feeling It but knowing it distinctly, hearing It creak exactly as I had heard ships At sea in dozens of movies, and with The sound, the sway, the massive grid of pipes And beams giving and taking. jms Old timers hadn’t warned me about this Although some had ridden out several Storms as bad, real or metaphorical, Not even old Harris who remembered Moving down from Susquehanna county In ’29, to Wall Street and the Crash. ii. Future archaeologists of urban Storms will study pictures of umbrellas Taking flight, wrecked synthetic shapes blooming Against resistant hands, then abandoned, Stuffed into trash cans, twirling down alleys, Pastels, stripes or old-fashioned banker-black, The edge of the story, the windy street’s Last rebuke to those daring to stagger To lunch but caught in the nor’easterly Gale’s grey wall of wind and rain that rattled Doors and buckled windows. The building held Two dozen companies, and I still like To think one fronted for an anchorite, Some isolated individual Up on 24, alone at his desk In a skyscraper office for ten years Praying, sometimes looking down the cliff walls At the peregrine falcons sweeping home Lawrence Dugan 67 To their massive nest stuffed tight in the bronze Lap of a statue seated on City Hall, One of the allegories of Founders And Lenape chiefs placed high over Broad, The hawks diving downward athwart the storm Coming on in grey curtains wavering Over the city and the Delaware Valley. Across the river in Jersey The pines begin, in Camden the street dirt Is sand; halfway to the shore the forest Runs above the expressway, farms below, The pines flourishing in sandy barren Earth lacking nitrogen, incinerating Every dozen years, thousands of acres Blowing away in flames seen at the shore. After that rain those woods were safe for weeks. iii. Ten years and two jobs later I needed Census material and found it online On a rainy day in Center City In a high-rise office nearby, a halfDay ’s work done to my surprise in only Twenty minutes, then realizing as I Stood up from a computer that the view Was familiar. I was back on 21 In my old office; jms had moved But the grey sky cleared with a sweep of wind And the view north and south looked as before Wherever the market’s ticker-tape rolled now. The weather had surprised me again; The only full rainbow I ever saw, The ancient sign that spares the world from floods, A pure unblemished iridescent span, Appeared late in spring, in a sun shower.... (shrink)

The aim of this paper is to make a comparison between different streets typology (with a distribution from center to suburb) specified in Tirana, taking into account the pedestrians' behavior on these streets. This paper will primarily focus on the following streets: “Myslym Shyri” street, “Bllok” area, “Kombinat” area, (an extension of Kavaja’s Street), and also “Ana Komnena” street (former “Fusha e Aviacionit”). The pedestrian actions, likeness, dissatisfaction, walking distance while transferring to another zone, greenery effects on pedestrians, time (...) spent, points of interest, level of frequency, pavement quality, the favorite time for walking, meeting points, benches usage, ambulant sellers, vegetation and greenery impact, water basins, public transport preference, and road signs are some of the topics to be addressed in this paper. Determination of these data will be made by employing a questionnaire and direct observation. The study should provide recommendations as guidance for municipalities and stakeholders to better understand the behavior of pedestrians in Tirana. The “Bllok” area and “Myslym Shyri” Street are the most frequented streets by pedestrians. “Myslym Shyri” street has a slight edge over the “Bllok” area and is populated by different categories of pedestrians involving children, youth, middle ages, and the elderly. Ana Komnena Street (former "Fusha e Aviacionit") is not lacking any urban components. Meanwhile, the pedestrians on Kombinati’s street suffer a little bit more because of the traffic jam and vehicle pollution. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

The idea of Culture led by Social Sciences presents emotions as if they were difficult to measure, and consequently, from the point of view of the interpretation of Cultural Practices, bothering. The secondarysation (and even, the marginalisation) of emotions among the interpretaive arguments, is linked to a linear and diachronical perspective on the social fact, more than to a forgotten aspect. The traditional ethnographer’s incapacity on including emotional worlds in their reaserches produces traces of a fake objectivity and it is (...) the source of important inexactitudes (or even falsations). -/- Along three reaserches about Urban Culture, introduced in the context of the Sociocultural Process Workshop of the La Universidad del Zulia (“The Affective Dispositifs of Hugo Chávez’ Phenomenom”, “The Opprobium Laberynth: Sexual Chanceros in Maracaibo” and “Walking Throught the Night, Things Get Confused. Reflections about Transgendered, Body and Power in Maracaibo”), it is possible to see conditions for resolving some aspects obout meaning/sense and emotions/intellect tensions, using the body as an emotional territory and as an ethnographical resource. Those reaserches try to evaluate the affective consistence of the urban territory, from the transgendered’s street fronteers, from chanceros and from the “no deviated” society, until the Chávez’ phenomenom, throught the corporal imago between the subjects and the reaserchers. -/- At the end, it is possible to conclude about some useful principles of the idea of Culture that sees the body as a bridge to the missed subjectivity of knowledge. (shrink)

Cities are mysteriously attractive. The more we get used to being citizens of the world, the more we feel the need to identify ourselves with a city. Moreover, this need seems in no way distressed by the fact that the urban landscape around us changes continuously: new buildings rise, new restaurants open, new stores, new parks, new infrastructures… Cities seem to vindicate Heraclitus’s dictum: you cannot step twice into the same river; you cannot walk twice through the same city. (...) But, as with the river, we want and need to say that it is the same city we are walking through every day. It is always different, but numerically self-identical. How is that possible? What sort of mysterious thing is a city? The answer, I submit, is that cities aren’t things. They are processes. Like rivers, cities unfold in time just as they extend in space, by having different temporal parts for each time at which they exist. And walking though one part and then again through another is, literally, walking through the same whole. (shrink)

This article considers how Spatial Big Data is situated and produced through embodied spatial experiences as data processes appear and act in small moments on mobile phone applications and other digital spatial technologies. Locating Spatial Big Data in the historical and geographical contexts of Sydney and Hong Kong, it traces how situated knowledges mediate and moderate the rising potency of discourses of cartographic reason and data logics as colonial cartographic imaginations expressed in land divisions and urban planning continue on, (...) in a world that increasingly values models of calculability, interoperability and authority. It draws on ethnographic material gathered through walking interviews in both cities, and in doing so, it argues that by using ethnographic ‘moments’, it is possible to decentre the focus on data processes to consider the critical potential of a politics of everyday experiences that produce and reflect the structures of data logics. Through these ethnographic moments, this article examines how mobile technologies are complicit in the production of Spatial Big Data, and the impact this has on the increasing regimentation and surveillance of modes of being and expression via mobile media. At the same time, it will argue that while spatial calculability has expanded from cartographic reason into data logics, the epistemological universality of Spatial Big Data is constantly being resisted – in moments of experimentation, failure, intuition, memory and desire, the ghosts of the incalculable epistemes, experiences and people, forgotten by the emphasis on calculation, continue to speak. (shrink)

We know that our gas-guzzling cars are warming the planet, the pesticides and fertilizers from farms are turning rivers toxic, and the earth has run out of space for the mountains of unrecycled waste our daily consumption has left in its wake. We’ve heard copious accounts of our impact—as humans, as a society—on the natural world. But this is not a one-sided relationship. Lost in these dire and scolding accounts has been the impact on us and our well-being. You sense (...) it while walking on a sandy beach, or in a wild, woody forest, or when you catch sight of wildlife, or even while gardening in your backyard. Could it be that the natural environment is an essential part of our happiness? Yes, says Eric Lambin emphatically in _An Ecology of Happiness_. Using a very different strategy in addressing environmental concerns, he asks us to consider that there may be no better reason to value and protect the health of the planet than for our own personal well-being. In this clever and wide-ranging work, Lambin draws on new scientific evidence in the fields of geography, political ecology, environmental psychology, urban studies, and disease ecology, among others, to answer such questions as: To what extent do we need nature for our well-being? How does environmental degradation affect our happiness? What can be done to protect the environment and increase our well-being at the same time? Drawing on case studies from Asia, Africa, Europe, and North America, Lambin makes a persuasive case for the strong link between healthy ecosystems and happy humans. Unique in its scope and evenhanded synthesis of research from many fields, _An Ecology of Happiness _offers a compelling human-centered argument that is impossible to overlook when we marvel at murmurations of starlings or seek out the most brilliant fall foliage: nature makes our steps a little lighter and our eyes a little brighter. What better reason to protect an ecosystem or save a species than for our own pleasure? (shrink)

This essay discusses methods of pedagogy and educational philosophy stirred up by the Hong Kong Umbrella Movement/occupy-hong Kong Movement at the end of 2014. It situates these events as a way to envision a new type of public university. To this end, the essay proposes a model of ‘wandering scholarship,’ in which educators and activists walk through urban environments and use dialogic esthetics to reclaim them as ‘Commons.’ Wandering means a multisensory exploration and learning based on the historical concept (...) of ‘psychogeography,’ a drifting through sites and interpellation of their embedded ideologies. As opposed to traditions of introspective wandering, this kind of ‘dialogic wandering’ is done within groups and encourages people to talk to fellow-walkers or random bystanders. As will be shown, these modes of wandering while addressing publics were pioneered in the 1960s student movements and also adopted in a unique manner by the young activists of the Umbrella Movement. Dialogic wandering leads to affective languages and embodied learning as opposed to modes of analytical reasoning and logic within higher education. To further study the impact of this aspect of social movements within a university curriculum, it will be shown by means of example how students can meaningfully adopt dialogic wandering to survey people’s affect and ideological positioning within environments. (shrink)

The maneuvre carried out by the Israeli army at Nablus in April of 2002 consisted of interpreting the private house as an open passageway, and « walking through walls. » It involved a conception of the city as not just the site, but as the very medium of warfare – a flexible, almost liquid matter that is forever contingent and in flux. Who makes such interpretations ? Since the end of the cold war a vast intellectual field has been (...) established in order to rethink military operations on urban terrain. Soldiers take crash courses to master topics such as urban infrastructure or complex system analysis, and appeal as well to a variety of theories developed within contemporary civilian academia. The military appropriation of these theories is studied here by way of interviews with officers, in order to turn our attention to the possibility that, as Herbert Marcuse suggested, with the growing integration between the various aspects of society, « contradiction and criticism » could be equally subsumed and made operative as an instrumental tool by the hegemony of power. The subversion of the wall becomes the prerogative of the Israeli military in the Palestinian refugee camps. (shrink)

Children’s school journeys have changed vastly during recent decades: More children are being driven to school in private cars instead of walking and cycling, with many who are entitled to a free school bus service still being driven. Earlier research into travel mode choice has often investigated how urban form impacts upon mode choice regarding school journeys – in particular how urban form hinders or enables the use of the active mode. This paper quantitatively explores parents’ stated (...) reasons for choosing the car and the relationship between these reasons and the decision to use the car to take their children to school. We additionally investigate the relationship between sociodemographic factors, distance, and both the stated reasons and the actual mode decision. A sample of 245 parents (194 women) of school children aged 10-15 in the County of Värmland in Sweden were included in the study. The results of PLS-SEM show that the factor Social convenience has a direct relationship with the frequency of car use indicating that the wish to accompany the child and the convenience of car impacts on car choice. If the child is not allowed to travel independently, the parents choose the car to take him/her to school. Sociodemographic factors had a direct relationship with the stated reasons, whereby parents with a higher level of education valued safety/security less. Quite surprisingly, distance (i.e. environmental factor) did not affect car use, indicating that parents drive their children to school regardless of distance. By isolating the particular reasons for choosing the car, this paper focuses on a potentially important missing piece as regards finding out what motivates the increasing car usage in children’s school journeys. An increased knowledge of what motivates the decision to take children by car is important for effective policies aimed at changing parents’ inclination towards choosing the car. (shrink)

For many families, the idea of going out for walks and family adventures can be a dream that is erased by the determination of autistic spectrum in a child. Gaps in the health and quality of life of young people with autism spectrum disorder (ASD) are well documented. One particularly noticeable gap that affects both physical health and quality of life is in the area of outdoor recreation, particularly including outdoor recreation activities such as biking, hiking, running, canoeing/kayaking, horseback riding, (...) and skiing. Of the many outdoor activities to promote physical fitness, hiking is perhaps the most versatile and accessible for people with ASD. Hiking is a natural extension of walking. It is one of the first skills we acquire, one of the most important activities in everyday life and one of the few forms of recreation that does not require specific equipment and conditions. On the other hand, except for perhaps the most densely populated urban areas, there are almost always trails nearby. Lately even urban hikes that move around the city are becoming more and more popular. Whether you’re climbing the mountains at an expert level or hiking a trail, hiking gets your kids moving, which is of utmost importance in our modern society, when childhood seems to be filled more and more with time spent in front of the screens, and for children with autism this can become a serious problem. The main goal of this paper, on the one hand, is to increase awareness of the importance of hiking for psychophysical health, both for people from the general population and for people with ASD, but also to give recommendations for the approach and the way of organizing hiking activities for people with ASD, on the other hand. (shrink)

Since the Romantic era in Europe, walking has shifted from an obligatory activity tied to livelihood, through mobility, to a recreational pursuit of life quality, engaging the landscape on foot. 2 In the above quotation from the FABC, one of the earliest confederations of independent bushwalking or- ganisations in Australia, three elements make it germane: the bushwalker, the bush itself and the appreciation of the bush. As a therapeutic get-away from the city, bushwalking is amenable to “the mind and (...) the body” and remedies the effects of urban stressors like “hustle and bustle.” Through walking, the urban dweller assumes the persona of an early European explorer − say John Eyre or Alexander von Humboldt − who charted terra nullius “where no man has trod before,” or at least no European human. Most significantly, the recreational bushwalker, who would have typically been a male member of the upper-classes, experiences a transformation of values, realising that the bush looms largely beyond the horizon of city life, and its urban, suburban and rural spheres of organisation and commerce. (shrink)

We know that our gas-guzzling cars are warming the planet, the pesticides and fertilizers from farms are turning rivers toxic, and the earth has run out of space for the mountains of unrecycled waste our daily consumption has left in its wake. We’ve heard copious accounts of our impact—as humans, as a society—on the natural world. But this is not a one-sided relationship. Lost in these dire and scolding accounts has been the impact on us and our well-being. You sense (...) it while walking on a sandy beach, or in a wild, woody forest, or when you catch sight of wildlife, or even while gardening in your backyard. Could it be that the natural environment is an essential part of our happiness? Yes, says Eric Lambin emphatically in An Ecology of Happiness. Using a very different strategy in addressing environmental concerns, he asks us to consider that there may be no better reason to value and protect the health of the planet than for our own personal well-being. In this clever and wide-ranging work, Lambin draws on new scientific evidence in the fields of geography, political ecology, environmental psychology, urban studies, and disease ecology, among others, to answer such questions as: To what extent do we need nature for our well-being? How does environmental degradation affect our happiness? What can be done to protect the environment and increase our well-being at the same time? Drawing on case studies from Asia, Africa, Europe, and North America, Lambin makes a persuasive case for the strong link between healthy ecosystems and happy humans. Unique in its scope and evenhanded synthesis of research from many fields, An Ecology of Happiness offers a compelling human-centered argument that is impossible to overlook when we marvel at murmurations of starlings or seek out the most brilliant fall foliage: nature makes our steps a little lighter and our eyes a little brighter. What better reason to protect an ecosystem or save a species than for our own pleasure? (shrink)

This essay discusses methods of pedagogy and educational philosophy stirred up by the Hong Kong Umbrella Movement/Occupy-Hong Kong Movement at the end of 2014. It situates these events as a way to envision a new type of public university. To this end, the essay proposes a model of ‘wandering scholarship,’ in which educators and activists walk through urban environments and use dialogic esthetics to reclaim them as ‘Commons.’ Wandering means a multisensory exploration and learning based on the historical concept (...) of ‘psychogeography,’ a drifting through sites and interpellation of their embedded ideologies. As opposed to traditions of introspective wandering, this kind of ‘dialogic wandering’ is done within groups and encourages people to talk to fellow-walkers or random bystanders. As will be shown, these modes of wandering while addressing publics were pioneered in the 1960s student movements and also adopted in a unique manner by the young activists of the Umbrella Movement. Dialogic wandering le... (shrink)

Photographs and text document disappearing cultural landscapes and lifestyles in rural China, capturing poignant scenes far from Beijing or Shanghai. Just a few kilometers from the glittering skylines of Shanghai and Beijing, we encounter a vast countryside, an often forgotten and seemingly limitless landscape stretching far beyond the outskirts of the cities. Following traces of old trade routes, once-flourishing marketplaces, abandoned country estates, decrepit model villages, and the sites of mystic rituals, the authors of this book spent seven years exploring, (...) photographing, and observing the vast interior of China, where the majority of Chinese people live in ways virtually unchanged for centuries. China's Vanishing Worlds is an impressive documentation in images and text of modernization's effect on traditional ways of life, and a sympathetic portrait of lives burdened by hardship but blessed by simplicity and tranquility. The scars of China's recent history and the decay of centuries-old traditions are made visible in this volume, but so is the lure and promise of technology and another life for young people. In the next twenty years, an estimated 280 million Chinese villagers will become city dwellers, leaving their ancestral homes in search of urban jobs and opportunities. In striking and evocative color photographs, we see picturesque villages set against a background of rolling hills, planned centuries ago according to the principles of feng shui; a restaurant with bright pink resin chairs and a wide-screen television; traditional buildings preserved by the accident of poverty and isolation; ramshackle rooms decorated with portraits of Chairman Mao; backpack-wearing children walking to school; festivals with elaborately costumed performers; old men playing cards; buyers and sellers at open-air markets. China's Vanishing Worlds offers readers a rare opportunity to glimpse China as it once was, and as it will soon no longer be. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

The coronavirus disease 2019 lockdown meant a greatly reduced social and economic activity. Sound is of major importance to people’s perception of the environment, and some remarked that the soundscape was changing for the better. But are these anecdotal reports based in truth? Has traffic noise from cars and airplanes really gone down, so that more birdsong can be heard? Have socially distanced people quietened down? This article presents a case study of the human perception of environmental sounds in an (...) urban neighborhood in the Basque Country between 15 March and 25 May 2020. The social restrictions imposed through national legislation divided the 69-day period into three phases. We collected observations, field audio recordings, photography, and diary notes on 50 days. Experts in soundscape and architecture were presented with the recordings, in randomized order, and made two separate perceptual analyses. One group rated the recordings for pleasantness and eventfulness using an adapted version of the Swedish Soundscape Quality Protocol, and a partly overlapping group annotated perceived sound events with free-form semantic labels. The labels were systematically classified into a four-level Taxonomy of Sound Sources, allowing an estimation of the relative amounts of Natural, Human, and Technological sounds. Loudness and three descriptors developed for bioacoustics were extracted computationally. Analysis showed that Eventfulness, Acoustic Complexity, and Acoustic Richness increased significantly over the time period, while the amount of Technological sounds decreased. These observations were interpreted as reflecting changes in people’s outdoor activities and behavior over the whole 69-day period, evidenced in an increased presence of Human sounds of voices and walking, and a significant shift from motorized vehicles toward personal mobility devices, again evidenced by perceived sounds. Quantitative results provided a backdrop against which qualitative analyses of diary notes and observations were interpreted in relation to the restrictions and the architectural specifics of the site. An integrated analysis of all sources pointed at the temporary suspension of human outdoor activity as the main reason for such a change. In the third phase, the progressive return of street life and the usage of personal mobility vehicles seemed to be responsible for a clear increase in Eventfulness and Loudness even in the context of an overall decrease of Technological sounds. Indoor human activity shared through open windows and an increased presence of birdsong emerge as a novel characteristic element of the local urban soundscape. We discuss how such changes in the acoustic environment of the site, in acoustic measurements and as perceived by humans, point toward the soundscape being a crucial component of a comprehensive urban design strategy that aims to improve health and quality of life for increasingly large and dense populations in the future. (shrink)

Since the outbreak of the COVID-19 pandemic, the physical and mental health of older adults has been threatened. Promoting physical and mental health through physical activity has therefore become a strategy for healthy aging. In order to better understand the impact of the participation of older adults in physical activity, this paper selects different types of physical activity, and examines the relationship between them and subjective well-being through the analysis of the mediation effect of outdoor exercise environment and the regulating (...) effect of exercise form. In this cross-sectional study, a questionnaire survey was conducted in mainland China. The main data come from 903 older adults in five urban areas in Chengdu, Sichuan Province. The surveys were carried out using the Physical Activity Rating Scale, Newfoundland Subjective Well-Being Scale, Exercise Environment Scale, and Exercise Form Scale. SPSS was used for statistical analysis, linear regression analysis was adopted for processing data, and AMOS was used to establish a mediation model. The mediating variable is the outdoor exercise environment, and the moderating variable is exercise form; gender, age, education level, and monthly income were used as control variables. The study results showed that different physical activities were significantly, positively correlated with the subjective well-being of older adults ; among the activities, tai chi had the strongest effect on the subjective well-being of older adults. Outdoor exercise environment played a mediating role between different physical activity types and subjective well-being of older adults [tai chi: β = 0.030, 95% CI ; health qigong: β = 0.018, 95% CI ; walking and jogging: β = 0.034, 95% CI ]. Exercise form moderated the subjective well-being of older adults in different physical activities. The results of this study demonstrate that the outdoor exercise environment plays a mediating role between different physical activities and the subjective well-being of older adults, and the form of exercise can also moderate the impact of different physical activities on the subjective well-being of older adults. This study has enlightening significance for psychological intervention with older adults facing stress, anxiety and depression. (shrink)