"Space is the stuff of power" (Thrift, 274) Power is defined as the " the ability or right to control people or things". In an attempt to establish power, and assert their philosophy and ideology, colonizers sought to control and segregate both land and people, through transforming the colonized urban space. Urban space according to Harvey is the "totality of physical structures-houses, roads, factories, offices, sewage systems, parks, cultural institutions, educational facilities and so on." (96) (consenting space,16). The ability to control, shape, and transform the colonial urban space has a more significant cultural and geographical implication for the colonizer. This is because urban space is the product of society; it is a physical reflection …show more content…
Throughout his book, he identifies various kinds of spaces each according to the medium it is produced in, and the activity which takes place within. Space therefore, is defined by analyzing its content and context. However, Lefebvre's major focus revolves on the production of social space. Social space according to Lefebvre is: " is not a thing among other things, nor a product among other products: rather, it subsumes things produced, and encompasses their interrelationships in their coexistence and simultaneity-their (relative) order and/or (relative disorder)." (Lefebvre, 73) In his book, Lefebvre argues that there are three types or modes of production which have a dialectical relationship between them; they are absolute, abstract, and differential space. Lefebvre goes on to develop a "spatial triad" in order to explain the social production of space: firstly, spatial practice( perceived space), Second, Representations of space (Conceived space), and third Representational spaces (Lived space). By understanding these three concept and their relationship to space, Lefebvre maintains that we are able to understand "its relation to 'subject'." (40) In relation to power: " the space thus produced also serves as a tool of thought and of action; that in addition to being a means of production it is also a means of control, and hence of domination, of power; yet that, as such, it escapes in part from those who would make use of it." (26) How colonial power impacts urban spaces, and shapes our responses of the new lived spaces is another aim this study focuses on. Examples of hegemonic colonial power is reflected in the segregation of the geographical and urban spaces throughout the narrative in the
Gentrification is defined as the process by which the wealthy or upper middle class uproot poorer individuals through the renovation and rebuilding of poor neighborhoods. Many long-term residents find themselves no longer able to afford to live in an area, where the rent and property values are increasing. Gentrification is a very controversial topic, revealing both the positive and negative aspects of the process. Some of the more desirable outcomes include reduced crime rate, increased economic activity, and the building of new infrastructures. However, it is debated whether the negatives overwhelm the positive. An increase in the number of evictions of low-income families, often racial minorities can lead to a decline of diversity
in the equally codified language of space (marking territories with graffiti in the city, the
I must admit when were given this aesthetics assignment, I figured it would be a piece of cake. I was wrong because I had to find a piece that kept my attention and left me in awe. In the lectures earlier, we discussed what we thought was beauty was and the ideas bought up were original, universal and captivating. I agree with the ideas brought up, but what about crafty, colorful and eye catching. My ideas mentioned of beauty all came to my mind when I walked into the Robert Fontaine Gallery in Midtown and noticed the contemporary piece, Abandoned Places by Nick Gentry. Nick Gentry, British artist from London, is best known for his floppy disk painting, which places emphasis on Abandoned Places is a mixed media piece that consists of oil and used computer disks on wood. His newest works are composed by layering collages of x-rays and film negatives between sheets of plexi-glass backlit by LED strips. With sensitivity of the use of x-rays and the gratitude towards people sharing them with him, he’s also elected to donate ten percent of the show’s sales to the Miami Children’s Hospital Foundation.
Creswell explores the notion of place by looking at David Harvey’s view in ‘From Space to Place and Back Again’, and comparing it to Doreen Massey’s view of place in ‘A Global Sense of Place’, 1994. These chapters were published in the 90s, an era of rapid globalization that resulted in homogenization and cultural imperialism.
...lves the confirmation of the boundaries of the social world through the sorting of things into good and bad categories. They enter the unconscious through the process of socialisation.’ Then, “the articulation of space and its conception is a reminder that time boundaries are inextricably connected to exclusionary practises which are defined in refusing to adhere to the separation of black experience.”
Within a society power serves a vital role of establishing and maintaining roles of dominance and submission (Bourdieu, 1977). This creates and maintains a social hierarchy of inequality that unconsciously determines the status, behavioural expectations and available resources for members of the community (Navarro, 2006). The meaning of power within a society is that it determines one’s social standing or relational position within the given community as well as the level of dominance or power they have available to exert onto others. Power, within a society is primarily created through the habitus, capital and culture of a
The ways in which people are placed within “time space compression” as highly complicated and extremely varied. For instance, in the book Nickel and Dimed, Barbara said, “ Something is wrong, very wrong, when a single person in good health, a person who in addition possesses a working car, can barely support herself by the sweat of her brow. You do not need a degree in economics to see that wages are too low and rents too high”(127). Barbara has a car so that she can drive to her workplace and save the time from waiting public transportation, and she also can go to different cities whenever she is free. Therefore, she has more control of her mobility. The social relations would change when she went to another city. Different social groups have distinct relationships to this anyway differentiated mobility: some people are more in charge of it than others, like Barbara; some initiate flows and movement, others do not; some are more more on the receiving-end of it than others. Instead of thinking of places as areas with boundaries around, they can be imaged as articulated moments in networks of social relations and understandings, but where a large proportion of those relations, experiences and understandings are structed ona far larger scale than what we happen to define for that moment as the place itself, whether that be a street, or a region or even a continent. We can see that from her different work experiences in different places. And this in turn allows a sense of place which is extroverted, which includes a consciousness of its links with the wider world, which integrates ina apositive way the global and the
Man is constantly in a battle over physical space. Physical space has the ability to define many things in a person’s life. Where a person lives, has the ability to dictate their everyday life. Literature in particular, is obsessed with the idea of physical space. The physical space that an author presents in a story has the ability to create much more than a setting.
According to Hall, the way space is used in interaction is very much a cultural matter. In different cultures various senses assume importance. For example, as in United States, sight and hearing predominate; in other cultures, such as Arab states, smell is also important. In any cases, a necessary relation is present between the use of senses in interaction and interpersonal distances. Proxemics relations vary too because the definitions of the self are different, for these reasons, the people of a particular culture arrange their space in certain ways.
We analyzed an uncontrollable and in sense monster called colonialism. Aime Cesaire 's work provides the perspective of the colonized and " identifies the root of European and American violence within the founding acts of international colonialism." The violence and exploitation of slaves for economic means explains his point that "no one colonizes innocently" (Cesaire 1972). American History doesn 't show us these harsh realities of colonialism, dry scholarly text fails to describe the societies that were drained of their natural resources, land taken away, and every aspect of cultural lifestyles destroyed. This brutally honest history makes me define colonialism in a different way. Forceful control is a more accurate portrayal of colonizing. When I read Kristian William 's article " The Demand for Order and and Birth of Modern Policing" it was more clear to me in a modern context. I found it interesting to read when he said; ".. the greatest portion of the actual business of law enforcement did not concern protection of life and property, but the controlling of poor people." Because a system was constructed to racially disadvantage some people, their lack of opportunities and stumped life chances has kept them down in poverty, where the white supremacy can control
Becoming widely known through the publishing of his book Relational Aesthetics in 1998, Bourriaud defines the concept as ‘a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space. (pg. 113)’ that is to say that relational aesthetic works tended to be a break from the traditional social and physical space of the gallery and the artists secluded workshop or studio. Relational aesthetics uses life as it lived and the social environment in its entirety as the subject, rather than an attempt to represent an object that has been removed from daily life to an independent space, much like a ‘Dutch Baroque still life’, for instance. Differing from earlier aesthetic models that seek to recreate human culture in its entirety, directed by ‘aesthetic ideals’ (a romanticised view seeming to have persisted much in postmodern theory) relational aesthetics refers to ‘learning to inhabit the world in a better way’ in contrast to commonly ‘escaping’ the social structure that shapes our lives, the artists are to work with the ‘given real’ and within ‘the realm of human interaction and its social context’. In Bourriaud’s text he states relational art “strives to achieve modest connections, open up (one or two) obstructed passages, and connect
‘Through identifying places and organizing them, we make sense of the world we inhibit’ (Unwin,
Hall (1966) defined proxemics as the “interrelated observations and theories of man’s use of space” (101); from the observations he made from animal studies regarding territoriality, spacing, and population, he proposes an organizational model of the underlying culture. This model is organized by Hall (1966) as a set of patterns divided into three different cultural levels: the intracultural, the precultural, and the microcultural. Infracultural “is behavioral and is rooted in man’s biological past” and precultural “is physiological and very much is the present” (101). Microcultural, used by Hall (1966) to make most of his observation, has three aspects: fixed-feature, semifixed-feature, and informal (101.
This was an era where sociology was emerging. Hirsch using Sauer’s work argued that human interaction with the natural landscape created a ‘cultural landscape’. Hirsch uses Gow ‘s (1994) chapter on Amazonian Peru to demonstrate how a cultural landscape develops. The Piro people of Peru use rotational crops to feed their people and share their food among the tribe. When they look at the land it represents kinship structures and social ties. The notion of space and place are entwined in meaning by emphasising the reality but also looking to the potentiality of the place thus creating a ‘space’.
either the physical or the imagined, into a “both/and logic” and the ontological trialectic of “Spatiality-Historicality-Sociality”. Similar to the perceived space in Lefebvre’s term, the Firstspace refers to the real, and physical space, as the geographical site shown in the map, while the Secondspace regards the space as symbolic and poetic. The imagined geography, like utopia, tends to become the “real geography”, with the image or representation coming to define and order the reality. Arguing even while the two ways of thinking are at odds, they also “embody and nourish” each other, Soja protests against the binary between the First- and Secondspace, and puts forward the idea of the Thirdspace, as the mergence of the two. Favouring the trialectic ontology of Historicality-Socialcality-Spatiality, Thirdspace denotes the belief that the historical, social and spatial are interviewing with each other. On the other hand, the significance of Thirdspace lies on its defences against “totalling closure and all permanent constructions” and the tendency of always opening up for more dynamics and possibilities. The notion of Thirdspace makes more sense in the modern context of globalisation, although Homi Bhabha’s employment of this term slightly deviates from Soja’s definition: the former