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This article deals with peculiarities of Kaunas centre cityscape perception and the determining socio-cultural factors. Important elements creating unique view of a location and identity are related to the period’s history, culture, political situation, features of the location natural basis, as well as individual’s-observer‘s education, personal qualities, aesthetic and cultural sophistication. The territory of Kaunas city centre was selected for the case study. It is characterized by unique natural, historic, cultural conditions and high information-emotional potential. During the research prioritary ranking concerning significance of cityscape elements groups and experienced psycho-emotional senses was conducted. Furthermore, the correlations between the distance of object observation, heights of observation points as well as movement mode selection and personal factors such as gender, age, occupation, and education based on statistical dependencies were identified. The obtained results explain the principles of Kaunas centre cityscapes perception.

Framed within the context of contemporary place making and the urban tourism destination, a novel trans-disciplinary approach to mapping and interpreting gentrification and cityscape change is pres...

Upaya mempercantik kota oleh Pemerintah Provinsi DKI Jakarta untuk meningkatkan kualitas hidup warganya, dilakukan dalam rangka menyambut Asian Games 2018, adalah pembuatan median jalan di seberang Bundaran HI dengan karya instalasi bambu Getah-Getih yang menimbulkan pro dan kontra di masyarakat. Setahun berselang, instalasi tersebut diganti dengan batu gabion dan kembali menimbulkan polemik di tengah publik. Penelitian ini membahas tentang persepsi milenial terhadap instalasi seni yang dipasang di kawasan tengaran (landmark) Bundaran HI Jakarta. Pendekatan penelitian dilakukan melalui teknik kualitatif dengan menggunakan metode grounded theory yang berbasis kuesioner daring terhadap 207 responden, kemudian pengolahan data jawaban dilakukan menggunakan Conventional Content Analysis. Dari analisis terungkap bahwa terdapat enam pandangan milenial terhadap instalasi temporer di ruang kota Bundaran HI berdasarkan respons mereka, yaitu kategori Milenial Optimis, Permisif, Simpatik, Netral, Skeptis, hingga Oposan. Apabila dikelompokkan dalam klaster yang lebih umum, penelitian ini menunjukkan bahwa terjadi polarisasi persepsi para responden milenial yang membaginya dalam dua kutub besar yakni pendukung dan penentang, di mana persentase kelompok pendukung unggul tipis dibandingkan para penentangnya. Dapat disimpulkan bahwa placemaking yang telah dilakukan oleh Pemprov DKI Jakarta di Kawasan Bundaran HI tidak hanya dapat menjadi upaya untuk memperindah kota semata, tetapi juga mampu menjadi pemantik diskursus ruang publik yang aktif bagi kalangan generasi milenial dengan cara pemaknaan masing-masing.

Purpose The purpose of this paper is to analyze the tourist landscape as represented in Turisme de Barcelona’s YouTube tourism promotional videos, looking at the landscape’s tangible locations, symbolic and tourist assets and the protagonists in an effort to interpret its storytelling in an overtourism context. Design/methodology/approach The mixed methodology is based on a visual content analysis of promotional videos posted on the official Barcelona tourism YouTube channel. Quantitative data analysis about the assets and their localization was completed with a qualitative assessment of the way these assets are displayed to unveil the narrative they convey. Findings The results highlight that Barcelona’s projected image is mainly based on tangible heritage (especially monuments), its recognizable cityscape and its eno-gastronomic assets. This rather conventional image is geographically concentrated on the neighborhoods perceived as tourist neighborhoods. Practical implications This analysis provides a critical reflection of the actual strategy of destination management organizations and the storytelling they transmit. The findings can help to orientate their future actions and provide a method of analysis that can be repeated for other destinations. Originality/value This paper sheds new light on the use of urban landscapes in nonstatic images both as a narrative subject and as a tangible tourist space in promotional discourse.

This analysis examines the ways in which a single speaker, Ana, born in mid-century East Los Angeles, organizes and reflects upon her experiences of the city through language. Ana’s story is one that sheds light on the experiences of many Mexican Americans who came of age at a critical time in a transitioning L.A., and the slow move of people who had been up until mid-century relegated largely in and around racially and socioeconomically segregated parts of L.A. These formative experiences are demonstrated to have informed the ways that speakers parse the social and geographical landscape along several dimensions, and this analysis interrogates the symbolic value of a special category of everyday language, deixis, to reveal the intersection between language and social experience in the cityscape of L.A. In this way, it is analytically possible to not only approach the habituation and reproduction of specific deictic fields as indexical of the ways that speakers parse the city, but also to demonstrate the ways in which key moments in the history of the city have shaped the emergence and meaning of those fields.

In his film Conducta [Behavior] (2014), Ernesto Daranas portrays the ethical and physical challenges of an aging teacher, struggling to improve the lives of her students, not just within the classroom setting, but also in their family and social spheres. Thus, in response to a top/down social structure where an unseen government exerts economic and political pressure on schools and families in crisis mode, Daranas proposes model redirecting away from Ernesto Che Guevara and back toward José Martí as a pedagogic strategy for modulating conduct expectations of elementary school children. However, because government censorship sensitizes the spoken word, the filmmaker is careful to avoid negative repercussions by letting markedly visual elements of his mise en scène reveal indiscreet, if not outright subversive views of home, school, and cityscape. Also, through a recurring wandering narrative format, Ernesto Daranas conducts a political inquiry analogous to how Radicant aesthetics exercise wandering narratives.

If the urban tissue can be compared to a verbal text, how appropriate, then, do the linguistic disciplines prove in urban studies? This article briefly shows how morphology (Oliveira, 2016) and semantics (Benveniste, 1971) help us understand the city’s physical structures as well as the meaning these structures embody. Then follows a more substantial discussion of poetics (Ricœur, 1991) and its relevance to research on art in public space. An artistic intervention in public space may in fact appear as a poetic trope within the prosaic context of the city (De Certeau, 1988). Interrupting the smooth run of the urban machinery, it may re-inform what has become redundant. Thus, Marianne Heske’s House of Commons not only questions our definitions of form and exform (Bourriaud, 2016); in-forming an ex-form, it also questions the power of definition and other power structures inherent in the cityscape.

Screen technologies increasingly permeate the experience of public space in Hong Kong. Large media walls have occupied the facades of many buildings, rendering a cityscape with dynamic information visible as a new urban skin. This article is a case study on Artificial Landscape, a site-specific media art project located on Asia Pacific’s largest LED outdoor screen. The case sets an example of how a public screen can serve as a mediating agent. It provides an opportunity for artists to provoke absent ideas in the public space and explore subversive potential, including critical reflection on issues surrounding surveillance, consumerism and rapid urban growth. The case also exemplifies how a public screen can mediate the public to experience an alternative context through artistic intervention, where negotiations of perceptions and subjectivities are made possible. This article provides insights into a public screen’s mode of spectatorship, quality of public space and curatorial strategies in an urban context. This is achieved by illustrating how various artworks extend the notion of publicness and remediate the mutually constitutive relationship among the built environment, media technologies, artists, public and everyday encounters.

The Thesis explores the concept of fear and security in urban space, through the way it is recorded in cinema. The Thesis focuses on horror films and aims to decode the mechanisms of the –sometimes intended sometimes not- allegory of these films in order to analyse contemporary fears and how they are engraved within urban space. Furthermore it makes references on the ways urban and architectural theory approaches films and the way film studies analyse the city.The thesis examines six paradigms from different national productions (Greece, USA, Spain, Mexico, UK), which register under different horror subgenres and were distributed between 1992 and 2011. Through these movies the thesis explores the concept of fear and the city and how it links with urban regeneration strategies and practices; practices that, on a global level, use arguments that demonise urban areas and their residents. Each movie approaches the cityscape in a different scale and creates a new mental map of the area where it takes place, using the material context of the urban space and the narratives about the city on a global and local level. Furthermore the cinematic imagery becomes an intrinsic part of the intertextual memory of the city, as place and as concept, repeating, subverting or creating stereotypical ideas about its neighbourhoods and residents.The six films examined within the temporal, urban and social context that produced them in order to examine questions such as: what elements of the city the creators include in their narrative, how stereotypical perceptions for the people and the place work in a local and global level. Moreover the thesis looks into the interaction between these representations affect the image of the city and form the notional space of Athens, New York, Barcelona, Mexico City, Chicago, and London. This imagery contradicts and supplements the political and media discourse of the “polluted" city in need of urban regeneration through private investments.The Thesis distinguishes through these six films two approaches on urban space based on the way its characters are placed within the city. The first approach takes advantage of urban characteristics that isolate their characters, using the typical horror motif of a person or a group has to face an evil; unable to ask for help. The second approach moves within urban space taking advantage of the connotations of the inner city, the ill-reputed areas and the demonised residents. Both of these approaches and the six cinematic explorations of the city point out the importance of social networks, the concept of lived space, the different scales of experience, the co-existence of different identities and the constant negotiation between the private and the public in the contemporary city.%%%%Η παρούσα διατριβή διeρeυνά το ζήτημα του φόβου και της ασφάλeιας eντός του αστικού χώρου μέσω του τρόπου που αποτυπώνeται και ανατροφοδοτeίται στον/ από τον κινηματογράφο. Η διατριβή χρησιμοποιeί το κινηματογραφικό eίδος του τρόμου, μe στόχο να καταγράψeι τους φόβους της eποχής και πώς…

PurposeThe purpose of this paper, based on reflections from practice, is to shed light on the realities of using walking as a tool for learning and development. This is done through an initial analysis of longitudinal reflective data spanning seven years and connecting these reflections to the concepts: being-in-the-world, belonging and Ba.Design/methodology/approachThis research takes a practice based phenomenological and reflective approach. The value of this approach is to seek a new understanding, through three distinct conceptual frames, of the effective use of walking within management development.FindingsThe findings connect three conceptual approaches of being-in-the-world, belonging and “Ba” to the practicalities of delivery, thus encouraging practitioners and designers to deeply reflect on the role of walking in management development.Research limitations/implicationsA limitation is that this is largely a personal story exploring the impact of an intuitively developed set of interventions. Despite this, the paper represents a unique and deep interpretation of walking as a mechanism for management development.Practical implicationsThe paper concludes with three recommendations to practitioners wanting to use walking in management development programmes. These are: facilitators need to be familiar with their surroundings; they should look for spaces and places where participants can connect and build relationships; and organisers and sponsors need to recognise how walking not only consolidates knowledge but can help create knowledge too.Originality/valueThis is a unique, seven-year longitudinal study that broadens the theoretical focus of walking as a mechanism for management and leadership development that combines the theoretical lenses of being-in-the-world, belonging and “Ba”, the authors believe, for the first time in research on management development.

At the nexi between urban aesthetics, power of the affluent elite, property and tourism destinations are complex intersections. These are explored utilising a critical theory approach within the context of neoliberalism and the concept of ‘aesthetic common sense’ is introduced. New conceptualisations of the ways in which tourists and others are influenced, demonstrate how they, through the processes of commodification and mediatisation, adopt the preferred aesthetics of the affluent elite. Cityscape aesthetics, incorporating both structural, top-down aspects (placemaking) and human agency (place-making) as co-performers in place making, impact on and influence, tourism destinations. An outcome is styled-for-status built environments and streetscapes. This is illustrated through the lens of Malta and its capital city Valletta, which presents a contemporary and dynamic exemplar.

Tracing the entangled genealogies of spaces of media spectatorship, modes of visual perception, and practices of capitalist consumption, this article explores how the shift in Manila's main commercial street from Calle Escolta in the 1930s to Avenida Rizal in the 1960s reveals changes in the imagination and experience of capitalism and modernity. Previously embodied in the infrastructure, architecture, and technology of the cityscape, which only government and business were perceived as having the capacity to produce, modernity became reconfigured as a dynamic force that ordinary residents came to believe they could harness. The article comparatively analyzes variations and dissonances in the print and audiovisual media of the two periods, particularly in the contrasting representations of awkward vaudeville comedians and youthful movie antiheroes. Instead of treating consumer and media culture as a source of docility and atomization, it sees the collective spectatorship of mass entertainment as generating the potential for self-transcendence and revolution.

The aim of the paper is to characterize contemporary transformation of urban greenery, which rely on the image of garden in order to arrive at a “garden-like” character of the cityscape. It also demonstrates how the image of garden is applied in the city as a new tool of social communication in the course of democratic transformation of the urban space. The author discusses the origins of the garden-image and the “garden-like” character of space, providing examples of how it is used today in the cityscape by the inhabitants, activists, designers and artists. The text introduces a range of informal, Polish projects of urban gardens and spaces drawing on its image, describing their novel role in building the vernacular landscape of a city.

Cityscape is the image of a city, and cityscape planning is the main means of creating urban style. This paper summarizes the problems of the natural environment, historical characteristics and style of Mianyang City, and analyzes the problems encountered in the specific implementation of the cityscape planning. It is proposed that the planning of the cityscape should be based on public participation, and enhances the control and guidance of the cityscape planning. Targeting and improving the expression of historical culture in the city, in order to reduce the difficulty of urban planning, and thus achieve the purpose of improving the city’s appearance and improving the city’s personality.

This chapter examines some key themes raised by the intersection of the urban, the rural and the penal against the backdrop of the Australian ‘rural ideal’. But the chapter also seeks to look critically at that ideal and how it relates (or does not) to the various lifeworlds and patterns of settler development that lie beyond the Australian cityscape. Attention is directed away from the singular focus on the rural/urban divide to stress the importance of North/South in understanding patterns of development and penal practices beyond the cityscape in the Australian context.

This essay explores drawing as an ethico-political practice. Taking London as an example, I speculate about a critical and creative, radical and imaginative engagement with speculative urbanization processes at a time when the extreme right is on the rise and the populist far right has become increasingly mainstream. Reflecting on a nonrepresentational drawing approach that responds to distantiated expert eyes by breaking free from their knowledge and pre-defined moral standards of the capitalist city, I explore different lines: lines that commodify the cityscape; lines that cross commodifying categories; lines that creatively produce alternatives; and lines of violent creativity. In so doing, I scrutinize conservative links between a visuality of capital accumulation and fascist urban aesthetics.

This chapter focuses on cityscapes, city image, urban experience and aestheticization processes. These themes were addressed by David Frisby in his detailed analysis of Georg Simmel’s writings on the money economy, the expanding metropolis and aesthetics. Simmel also examined the city as a work of art and the landscape. Frisby builds on these insights, as well as the immersive street life of the modern city influenced by Simmel’s ‘Metropolis and Mental Life’ essay, to develop the notions of the cityscape and the streetscape. Simmel’s work, then, helps us consider two main forms of experiencing the city. The first is the cityscape considered as an adjunct of the landscape, in which a significant vista of the city is considered from a distance: the cityscape is effectively the urban landscape. The second is more directly located in the life of the city, the cityscape perceived from within the streetscape: the melee of signs, sounds, shocks and shifting impressions of street life. The chapter concludes with a discussion of urban infrastructure and mediascapes and their relationship to the continual process of formation of the city image.

Sam Selvon’s classic novel of West Indian migration to Britain, The Lonely Londoners (1956), is exemplary in showing how a literary text can reveal the layered or hidden ‘time’ of an urban space. The migrant characters’ very newness in the cityscape and their irregular or anti-social hours of work mean that they experience the city very differently to the majority of the ‘host’ population. This experience of time might be termed ‘migrant time’: not in the sense that it is unique to migrants or that all migrants necessarily experience time in this way, but in so far as Selvon’s novel shows us another temporal dimension to life in the city through the prism of migrancy. As the novel’s title suggests, London is also viewed through the affective lens of the migrants’ feelings of loneliness and alienation in the city and their intense longing for connection, dwelling and ‘at-homeness’, itself a major trope in West Indian literature. With a focus on time, space and place in a relational context, this chapter argues that the novel’s distinctive use of intertextual ‘layering’ and of characteristically West Indian speech acts ‘speak’ a new city into being and make fictional use of ‘space as a dynamic force in the contemporary struggle for meaning, belonging and power’ (Berland, Place. In New Keywords: A Revised Vocabulary of Culture and Society, eds. Tony Bennett, Lawrence Grossberg and Meaghan Morris, 256–257. London and New York: Blackwell Publishing, 2005, 334).

This article describes research done on language and script variation in the linguistic landscape (LL) of Beirut, Lebanon. It discusses how the cityscape itself became an archive for researchers and how digital humanities’ (DH) methods were used to capture and analyze patterns in written language found in public space. It also discusses the DH project, Linguistic Landscapes of Beirut (LLB) at the heart of this research and the benefits and challenges of its two core methods: mobile data collection for documentation of linguistic diversity and geospatial visualization. The article argues that knowledge production in non-Western locations such as Beirut is both impacted and enriched by the complex political and social environment. This research, carried out with under-resourced infrastructures and at the frontiers of DH practice in the Arab world, blended theory, practice and pedagogy, ultimately illustrates that context profoundly changes computational research. Cet article décrit des recherches effectuées sur la variation de la langue et de l’écriture dans le paysage linguistique (LL) de Beyrouth, au Liban. Il explique la façon dont le paysage urbain lui-même est devenu une archive pour les chercheurs et celle dont les méthodes des humanités numériques (DH) ont été utilisées pour capturer et analyser les modèles du langage écrit dans l’espace public. Il aborde également le projet DH, Paysages linguistiques de Beyrouth (LLB) au cœur de cette recherche et les avantages et les défis de ses deux méthodes principales : la collecte mobile de données pour la documentation de la diversité linguistique et la visualisation géospatiale. L’article soutient que la production de connaissances dans des endroits non occidentaux comme Beyrouth est à la fois influencée et enrichie par un environnement politique et social complexe. Cette recherche, menée avec des infrastructures sous-financées et aux frontières des pratiques des humanités numériques dans le monde arabe, mêlant théorie, pratique et pédagogie, illustre finalement que le contexte change profondément la recherche informatisée.

This chapter discusses the role of city festivals in shaping and re-imagining urban space. There has been increased interest in festivals among decision-makers and marketers as vehicles for cultural profiling, regeneration, and social inclusion. The chapter views space as inseparable from economic and social structures and practices which govern urban life. It draws attention to the political aspect of city festivals as being mobilized for economic, social, and cultural purposes. It draws on Lefebvre’s and Massey’s conceptualizations of space as socially produced to discuss examples of theatre festivals based in Northern Europe. It shows how, more than simply putting on a show, these festivals aim to infuse the cityscape with new meanings. In doing so, the festivals become implied in (re)configurations of social patterns of representation and marginalization, for example regarding how they open or close urban space to different audiences. The chapter argues that a spatial perspective provides a critical means for examining how festivals organize bodies, social hierarchies, and relations of inclusion and exclusion in the city.

The modern-day digital community provides an opportunity to follow the unifying threads of governance, physical spaces, and technologies, as played out through the deployment of local software-based sensors and gateways. As we will see, the now-defunct Sidewalk Labs project in Toronto highlights the challenges, and limitations, of developing such a comprehensive system of interfaces, in the absence of sufficiently inclusive and holistic mechanisms to govern their use. In this article, we will look briefly at two planned cities – the ancient Greek city of Thurii, and the modern cityscape of Quayside in Toronto, Canada—as exemplifying the different layers of control that can and should work well together in communities of trust. One proposed takeaway is the desirability of planning digital communities that invite active human participation in the blended spaces between the self and world, the private and public, and the physical and virtual. For the Quayside cityscape, the article focuses on two particular layers. First, we will explore inclusive governance, which spans from civic data trusts to urban trusts. That exploration includes consideration of the knowledge commons, and by extension the ancient Greek agora, as useful framing references. Second, we will dig into inclusive interfaces, using as an exemplar the evolving and still-incomplete work of the Sidewalk Labs’ design engineering team, the Digital Transparency in the Public Realm (DTPR) project. More human-agential versions of these interfaces exemplify what are introduced here as edgetech systems, as opposed to the cloudtech systems that dominate the Web today. The article establishes edgetech as incorporating three key elements: (1) the edge-to-all (e2a) design principle, (2) multiple end user-facing modalities of data, computation, and interfaces, and (3) a mix of edge-pushing and edge-pulling functionalities that empower the end user. Finally, the article observes how the personal digital fiduciary, paired with a Personal AI, could help the individual successfully navigate the inclusive new blends of physical and virtual spaces in their digital communities. Certain government policies are identified that would enable these more participatory governance and edgetech opportunities.

This article explores how Alice Sebold and Elena Ferrante place the feminine—and indeed often the maternal—body at the very centre of their narratives. The body—as a locus that filters the broader tensions and conflicts experienced by their female protagonists—in fact emerges as a key site of ‘contestation’ in their works. Through a close analysis of a selection of ekphrastic images, and photographic metatexts in particular, the author draws attention to how the two authors employ textual negotiations of the feminine body to question and problematize normative conceptions of femininity and motherhood. Ultimately, the author suggests that they not only challenge but also shift the perspective of, or indeed refocalize the dominant visual narrative of, the maternal/feminine body and the long history of objectification of the latter. In so doing, the author situates the two writers at the forefront of rethinking contemporary constructs of maternity and femininity.

Purpose Walking is considered as a particular relationship for rhythmic moving in cityscapes and as method for understanding. The purpose of this paper is to explore the significance of an embodied way of sensing and making sense, of knowing and learning that is relevant for tourism education and studies and other forms of experiential learning. Design/methodology/approach The paper uses a conceptual, discursive and research-based approach based on a phenomenological understanding of embodied learning. Empirical “data” from two educational tours (Edutour) in Lisbon and Shanghai are presented, contextualized and interpreted. Findings Walking through cityscape related to projects is an “effective” embodied practice of learning in which senses “make sense.” The empirical material and experiences that emerged during Edutour demonstrated the significance of walking as form of embodied knowing, learning and interrelating to place and paces of a tourist city. Originality/value The idea of walking as method within tourist cities is hardly explored. Hence, this constitutes a unique, innovative and interpretative event in which new approaches, such as “fielding” and “reflactions” “in the feeld”, defy more traditional concepts. It emphasizes the role of the city as a medium and remains a valuable contribution for tourism and education research.

As an intense repository for human existence, the contemporary city is textured by scenes of homelessness that manifest broader issues of inequality and poverty in society. This article explores material from photo-elicitation projects with 36 street homeless men in Auckland who were asked to go out into the city and picture their everyday lives. In interpreting the results, we draw on theoretical work on mimesis, urban mobilities, and social practice to conceptualize how homeless people attempt to convey aspects of street life. A core proposition is that in adopting the mobile analytic gaze of flânerie, participants produce photographs as memetic objects that enable them to show and articulate traces of the key places, features, rhythms, practices, and relationships of homelessness.

Canterbury Downtown is a campus ministry that has been evolving in New York City for going on fourteen years. Now housed at Grace Church, Manhattan, which sits right on the dividing line between the East and West Village, it is literally surrounded by college campuses. New York University, Cooper Union, and The New School have undergraduate and graduate programs in buildings dotted across the city, with their main campuses all within a few blocks. Grace Church, a neo-Gothic nineteenth-century building, rises against a patch of blue sky, a contrast to the busy cityscape of Broadway, just below Union Square. The church is eye-catching, and with the doors open daily, tens of thousands of tourists and new-to-New Yorkers cross its threshold to catch a glimpse of this house of prayer. Hundreds of those are students starting new programs every semester, and many of them find a place to rest and pray with our campus ministry community.Though we are housed at Grace Church (my office is located here, and we hold our fellowship meal following a Sunday evening worship service in the church), we are a ministry of the Episcopal Diocese of New York. The full-time staff position of chaplain to students in lower Manhattan was created in 2003. The five parishes located in the East and West Village neighborhoods (St. Luke in the Fields, St. Johns in the Village, Church of the Ascension, Grace Church, and St. Marks in-the-Bowery) discerned a commitment to build a shared outreach to college students, which was later adopted as a ministry of the diocese and funded along with other part-time staffed chaplain positions in strategic locations. The gift of staff and program funds supporting this work is immeasurable in terms of time and energy. The Committee for Campus Ministry reviews and relates to the diocesan-supported chaplains and does the work of raising awareness and requesting funds from the diocesan convention budget. The chaplains are thus able to devote our time and energy to pastoral and programmatic work with students and the campus communities we are called to serve.I have served as the priest and curator of the Canterbury Downtown community for the past five years. My call to serve as a college chaplain was planted twenty years ago when I went off to college myself, far from home. As a cradle Episcopalian, I found myself struggling to find palatable Christian community on the very small college campus where I lived, much less within the local Episcopal Church. On campus I was met with a student-led Bible study whose materials provided by a para-church organization offered only a very narrow interpretation of scripture, canned answers, and no room to ask questions. In the local Episcopal Church the tiny congregation was simply inward-focused and unable to recognize a short-term college student as a potential new community member knocking on the door.I had taken my love of God to college with me, but I did not find fertile ground in which to plant and grow more deeply into my faith as I was growing into and claiming my adulthood. In fact, I often felt ostracized, unrecognized, unneeded, and unwanted in the church communities I tried to connect with. As a transient student, my season was too short. My regularity was unpredictable. My needs were too disparate from those of the parish life cycle. One Sunday was a deep touchstone for me, but it was made obvious to me that my investment was not seen as enough for a returned investment in my spiritual life and formation. Over the course of four years I studied religion but my most consistent faith practices were in solitude or a few hundred miles drive north in an Episcopal campus ministry community near my family home. As I discerned my call to priesthood while working as a youth minister after college, I remained committed to the important work of discipleship in the context of young adulthood and found my calling included building better bridges between youth to college students and campus ministry to parish life. …

Taking Jacques Derrida's multi-faceted notion of invention as a common denominator of on the one hand artistic practice and, on the other, the writing strategies of deconstruction, this article investigates the ethics of cinematic expression in a reading of two examples of twenty-first-century British filmmaking, Sally Potter's Yes and Anthony Minghella's Breaking and Entering. Both films deploy the demographically diverse cityscape of contemporary London as the stage for their respective geopolitical concerns – that is, post-9/11 in the case of Yes and anxieties surrounding the EU expansion in the case Breaking and Entering – and set out to explore the destructive as well as the convivial possibilities of serendipitous encounters along cultural, social and gender divides. In so doing, they articulate a dual ontology, one which is situated in the reality of present-day politics and one which enacts the messianic structure of deconstruction. More importantly, they do so by reflecting on the transformative potential of invention, whether in the guise of literature, architecture, acrobatics, music or film. The first part of this article touches upon experimentalist features and themes in Yes and relates them to instances of Derridean ethics; the second part is more narrative-oriented and focuses on a parallel reading of Derrida's ‘On Cosmopolitanism’ and Minghella's portrayal of King's Cross, a north London area in transition, as a deconstruction of cosmopolitanism, that is an instantiation of the semi-concept of the city of refuge.

The first emperor of Rome, Augustus, exploited architecture to convey his sophisticated propaganda. He famously boasted to have found Rome a city of brick, and left it a city of marble. This claim has been considered an apt metaphor for the establishment of an imperial state, though the quantitative, physical veracity of the boast has never been fully interrogated. A team from UCLA mapped and modeled the marble projects added to Rome in the decades of Augustan power, using rule-based procedural modeling to generate numerous 3D, interactive, geo-temporal simulations of the entire cityscape with each marble intervention placed in situ topographically and chronologically. Broad, pan-urban views of the city’s evolution revealed that Augustan marble projects were neither overwhelming in number nor readily visible. Examination of the urban experience over time and space, however, revealed that marble construction had a constant and pervasive impact. Daily urban residents found their movements blocked by marble transports and their senses bombarded by the noisy, dusty work at construction sites. Thus, it was not the rhetoric conveyed by architecture that justified Augustus’ claim, but the rhetoric of the building act that spoke loudly and persuasively in situ.

This article critically analyses the semiotics of ‘architectural adverts’ (massive scale outdoor billboards that cover the entire facades of city buildings) in Johannesburg, South Africa. Drawing on critical advertising studies and scholarship critiquing neoliberal visual culture in cities of the Global South, the article critiques the visual landscape created by brands writ large across the cityscape. The critique is from two vantage points: the highway and the pavement. These are theorised as intersecting levels of geosemiotic meaning-making, shaped by structures of neoliberal power. We argue that architectural adverts colonise public sensibility by cloaking the realities of urban neglect and inequality with dazzling brand messages, and by making these visible at the expense of citizens’ visibility (and their view). We argue that the city government is neglecting its public mandate by allowing such advertising to be placed in public spaces, and that this failure exposes the neoliberal value set ...

This article examines how Asian diasporic Vancouverite poetry explores the implications of living in an Asian North American city that has yet to come to terms with the genealogies of its lands and communities, and its contemporary role as a prototype of capitalist urbanism. Through a brief examination of the socioeconomic history of the city alongside a close reading of the poetics of Japanese-Canadian poet Sachiko Murakami's collection Rebuild (2011), I argue that literary innovation is a crucial lens through which to view capitalist spaces of intentional abstraction and repetition, and the ever-growing glass and steel constructions of Vancouver's globalized cityscape. Rebuild interrogates what it means to inhabit a city that has been thoroughly and repeatedly transformed by transnational capital. In much of the collection, Murakami's own half-Japanese heritage and her awareness of the "colonized" nature of Vancouver are placed in dialogue with the hypermodern architectural construction of condominiums, and the unabashedly capitalist property market.

Studio Glowarp gained experiences into the application of the Spatial Augmented Reality (SAR) that allowed creating a cultural exhibition called GLOWFestival (www.glowarp.com/glowfestival.html) whose aim was the revaluation of the cultural heritage set in Ostuni, using digital technologies. The enhancement, intended not as a substitute of the historic and cultural value, provides an alternate use through a multimedia installation. The light and its linked technologies promote the culture sustainability infused in an interested audience. Thought as a four-year festival come to an end in 2016, it evoked an event totally dedicated to light as artistic medium. The web had a fundamental role as mean of sharing and diffusion that helped to start important inter-disciplinary collaboration in the ICT area. The share of the event via social network had made possible the involvement of artists from all over the world who merged into an environment open to sharing digital skills. The decisions made brought different age groups closer to the expressive potential that this medium offers as a show through the form of the artistic edutainment. The participation of artists from all over the world was free of charge. This paper wants to show the results, the findings and potentialities of the GLOWFestival.

Cebu, cityscape, composition, linguistic units

While their labour shapes the growing cityscape, migrant construction workers often remain invisible – not only to property developers and consumers but also to the state. For female workers, this is compounded by gender-based discrimination within the industry. Utilising ethnographic data, this article explores how women working in construction in Bengaluru, India, both experience and strive for mobility. It provides a multi-sited analysis to establish the ways in which intersectionality between employment conditions, the urban environment and gender norms may inhibit or facilitate urban mobility for migrant female workers. Few ethnographic studies have attended to women’s experiences of intermingled work/accommodation sites within the industry, although the practices and outcomes produced by the blurring of such boundaries provides fertile ground for analysis. While the article confirms the enduring nature of discrimination experienced by women in the construction industry, it also attends to the ways in which female workers were able to utilise spaces of exploitation. I conclude that precarious livelihoods may not at first glance yield enduring or substantive beneficial outcomes for those compelled to undertake them, but they are nevertheless productive – allowing for the maintenance and fulfilment of aspirations which may not reside within the urban domain. KEYWORDS circular migration; labour; gender; women; construction work

The creation of sustainable cities for unpredicted and uncertain futures requires and involves a broad range of disciplines. Our living conditions within the cityscape are a consequence of the actions of the past generation, while cities shape the next generation’s way of life. Some of the key challenges in shaping our future cities are not only our behavioural changes but also the redesign and restructuring of the built environment to make it more liveable and give it a sustainable urban form. On the basis of the empirical evidences obtained from the Life and Sustainability classes at Thammasat University, in this study, I critically evaluated the sustainability concepts and models of sustainable future cities from the young generation’s perspective. Zero energy, quality of life, green infrastructure, city resilience, and combined approach were the five main concepts explored. The analysis shows the students’ perceptions and learning outcomes of sustainable concepts and models. By using the built environment module as an example, I collected data 1,735 undergraduate students enrolled in the fall semester of 2016 and closely re-examined 35 group projects. The results revealed that most of the students were familiar with the two concepts of quality of life and green infrastructure. However, there found it difficult to develop their vision of future cities on the basis of the concept of quality of life. The relationship between the new generation’s perceptions of sustainability concepts and the conceptualised prototypes or models of future cities from their understanding was analysed from a socio-economic perspective. Finally, in this paper, I suggest that these two concepts, namely green infrastructure and quality of life, be used as the core concepts along with the other sub-concepts to develop the discussion towards the design and development of future cities.

Nature and urban tourism are two of the most important segments in the tourism industry and, therefore, among the most important categories marketed globally. Nevertheless, promoting nature and urban tourism across languages and cultures might not be as straightforward as it may seem. Due to different worldviews and cultural values, they are conceptualised differently by different societies. These differing conceptualisations have significant implications for cross-cultural tourism promotion and therefore for the translation of tourism promotional materials. Adopting the cultural-conceptual translation model, this chapter explores the challenges involved in translating English tourism promotional materials into Malay and investigates the extent to which naturescape and cityscape themes employed to lure Anglophone tourists are compatible with the Malay culture. The findings reveal that the conceptualisation of these landscapes is ultimately dictated by cultural values which underlie the language of tourism promotion. Thus, in order to translate tourism promotional materials effectively, the deep cultural level of the language of tourism promotion must be addressed adequately. Creating the intended effect on the target text audience may require these landscapes to be re-represented and re-positioned consistent with the cultural needs, preferences and expectations of that audience.

This article examines the metaphorical messages and interpretations of futuristic buildings and construction projects, with examples from several parts of the world, especially from Europe and Asia. Based on the research material gathered in the MEDEIA project, some examples of buildings representing various metaphors will be provided together with reflections on their implications and interpretations from an individual and societal point of view. 1 The method of causal layered analysis (CLA) is applied in the analysis to deconstruct the messages of the buildings and to illustrate the connections between their manifest appearance and the underlying metaphors. The article addresses two central questions. Firstly, how does a building, in addition to its main functions, act as a messenger and mediator of future-related meanings by embodying different types of metaphors? Secondly, which kinds of buildings present conventional metaphors and used futures, and which kinds of buildings suggest novel metaphors and alternative futures?

This paper explores some of the hitherto under-researched intersections between urban (re)development, urban planning and visual culture. What emerges is an academic context that, to date, has largely compartmentalised discrete literatures on ‘view’, ‘value of the view’ and cityscape change, (re)imagineering and (re)scripting). It shows how materialising processes associated with the commodification of a panoramic view in politico-economic and cultural terms can be used to transform and regenerate along neoliberal lines. It demonstrates how panoramas, when treated as a commodity within the context of neoliberal capitalism, are appropriated, (re)imagined and (re)scripted by architects and property developers to create high status, residential and commercial space for an affluent élite. As such, panoramas are a mechanism for the acceleration of capital accumulation that inherently create new and reinforce existing spatial inequalities. This study draws on research into the commodification of the view of the historic city of Valletta in the redevelopment of Tigné Point, the largest, most comprehensive regeneration scheme in Malta in recent years.

This article illustrates the process of acoustic participatory camouflage associated with the organisation of exhibits and space within a place of memory. The DDR Museum is a place of memory that exhibits memorabilia and artefacts of the former state of East Germany, comprised of two sections that structure sense-making about the socialist state. An ethnographic content analysis of photographs and notes taken during two visits to the museum demonstrate that many of the texts and materials portray former East German citizens as hedonistic and juvenile. In addition, the exhibits invite visitors to engage in actions that simultaneously disguise and reinforce negative connotations associated with those portrayals. Ultimately, the museum builds public memory about the average East German citizen as a hedonistic juvenile dupe manipulated by external Soviet forces. Such a public memory plays a role in shaping the experiential cityscape of Berlin for former citizens and tourists alike.

The City of Toronto has undergone a number of dramatic transformations in the last several decades morphing from an industrial-driven metropolis into a thriving real estate and consumer amenities market. Over these decades, the development of condominiums has significantly transformed Toronto’s cityscape surpassing by far other types of real estate development. Based chiefly on a series of interviews with property developers and local politicians, this article explores development from the perspective of condo developers. The article identifies the key condo developers and categorizes them according to their development approaches and spatial preferences. Findings reiterate the need to consider property developers as highly diverse and flexible place entrepreneurs. Differences play out not merely in preferred development location and size, but also in target population, tenure mix, corporate structure, and the extent to which capitalism and economic gain are mixed with more idealistic motivations ...

The presence of First Nations, Inuit, and Metis people in the urban centres of Quebec (Canada) is no longer simply the result of individual trajectories; it is also the result of collective and institutional initiatives. Aboriginal collective action is changing, and, as a consequence, new forms of Aboriginal citizenship are emerging, as well as new expressions of Aboriginal identity. These transformations have repercussions across the whole of Quebec society. With cultural territories being materialized—and Indigenous identities symbolized—in the cityscape, new conceptions of Quebecois citizenship and identity have emerged. Using the approaches of historical and cultural geography, we explore, firstly, the spatial dimensions of Indigeneity and of Canada's Indian policy. Secondly, we analyse two spaces of civic engagement that have emerged in the city of Val-d'Or—the Abinodjic Miguam Daycare and the Gabriel Commanda March Against Racism—as they relate to urban Aboriginal visibility and the co-construction of citizenship.

This paper described a new teaching methodology based on the use of social networking of YouTube videos. It was developed with high school students in a Technological High School-ETEC President Vargas, in Mogi das Cruzes, S?o Paulo, Brazil. The students were invited to develop critical appointments about the cityscape, unveil the simplest cultural heritage of everyday life. After this they created a channel on YouTube called Citizenship Dialogue, in which 31 videos are available until present date. This research was based on contemporary studies of communication and heritage education. It was a qualitative approach, which described the actions these boys and girls developed along the year of 2014. The results show that one can apply this methodology based on communication and education because the product—the video language reflects a critical overview of everyday life of these participants.

This chapter builds on anthropological studies that examine the role of religious practice in the construction of belonging within the context of migration. We expand on such studies by focusing on how religiously and spatially mediated modes of being in and relating to the world become embodied in the life worlds of the members of two diasporic religious groups in Berlin – a German-Turkish Sufi circle and a West-African neo-Pentecostal church. Emphasis is placed on affective religious routines and related emotional experiences that relate the followers of these groups to their wider socio-material urban environment. We argue that, notwithstanding their distinct histories of settling in Berlin’s cityscape, both groups engage in bodily focused and affect-driven practices as a way to establish their members’ moral, social, and spatial senses of belonging. A comparative analysis across religious affiliation is fruitful for understanding the similarities and differences in religious groups’ practices of place-making and “claiming territory” in urban settings. A methodical attention to affect in this regard opens up specific possibilities to apprehend the dynamics of spatial belonging in the context of migration with regard to its bodily, translocal, transtemporal, and moral dimensions.

In Suzanne Collins’ book series, "The Hunger Games", the dystopian, futuristic country of Panem is all that remains of a post-apocalyptic ‘North America’. The twelve poverty-stricken Districts contrast the rich and decadent Capitol, presenting a polarised cityscape for the audience to explore, not only in the books but also across the multiple media platforms that make up this popular transmedia franchise. This chapter investigates how the audiences’ experience of the Capitol cityscape and the rural landscapes of the Districts are shaped from one media platform to the next. It proposes that the dystopian themes presented in "The Hunger Games" narrative, and the positioning of the audiences as ‘citizens’ within the storyworld, further invites audiences to build communities around the franchise, and become activists in real-world civil movements.

This article analyses how the Fountain of the Innocents appeared and also how it was used and perceived as part of the Paris cityscape. In the 1780s, the plan to transform the Holy Innocents’ Cemetery into a market cast doubt on the Fountain's future; earlier perceptions now shaped discussions over reusing it as part of the transformed quarter. The article documents how the Fountain was dismantled in 1787 and re-created the following year according to a new design, explaining why it was created in this form. Finally, the article considers what contemporary reactions to the remade Fountain reveal about attitudes toward the authenticity of urban monuments before the establishment of heritage institutions and societies.

This article discusses how closeness and distance affected my ethnographic research in two Brazilian cities. I first address the pitfalls I encountered researching Luz, a run-down transportation hub and residential area in São Paulo’s city centre, also known as Crackland for its drug trade and consumption. In Luz, I was confronted with everyday hostility in an environment of unknown others and an ever-changing cityscape: users of cultural offerings, temporary residents and by-passers, police removal of drug users, house evictions and demolition in deteriorated buildings, and contentious and short-lived state policies with regard to the area. The second part of the article contrasts this experience with living and conducting research in Ouro Preto, a Brazilian UNESCO World heritage site where residents have a strong sense of social cohesion. While, for me, the violence and disorder of Luz made conducting research there impossible, the strong networks and familiarity in Ouro Preto created its own challenges. Drawing on 15 months of fieldwork in these two distinct contexts, I discuss how researchers can face intimidation brought about by both distance from informants and excessive closeness, and how research questions and findings are often limited by such personal possibilities and positions.

Akira Takayama explores cities and public spaces by applying a frame of heterotopia, derived from Michel Foucault’s concept, which allows audiences to experience a different way of viewing the cityscape where they wander. Takayama interprets heterotopia as an other space which does exist in reality. His creations are based on his perception of reality gained through extensive research with local researchers and collaborators. Taking examples from four Heterotopia projects as well as other recent works, including his new Wagner project, he discusses with Natsuko Odate how to defamiliarize the audience’s perception and how to keep transforming the public space not as a centripetal place but rather a centrifugal space to adopt a diversity that exists in our society.

Cityscape identity might be objective and subjective. Still, it is more often analysed from person’s perspective, and analysis of urban fabric itself is not considered sufficiently. Thus, this research aims to find out if fractal analysis method could be used to fill that gap. Kaunas city was chosen for the case study. The research was conducted in three stages: qualitative assessment (designation of the zones with different semantic load in Kaunas), quantitative assessment (calculation of fractal indexes of panoramic and streetscape views from previously established zones), and comparison of these approaches. To sum up, the research confirmed that there is a relationship between the results of different approaches. Thus, fractal analysis could be used as one of the tools for quantitative assessment of cityscape identity.