My undergraduate students are busy making iMovie video final projects for a non-traditional literary survey class and I figured I might give it a try (theirs are much better I assure you). I’ve done this as a 10-15-minute video version of the argument I make in a recent article. Maybe it is more like a research article trailer… Anyone else out there making video articles? [It helps that youtube (at least for my account) allows video uploads of up to 15 minutes.]
The article is:
Fraser, B. “A Biutiful City: Alejandro González Iñárritu’s Filmic Critique of the ‘Barcelona model.’” Studies in Hispanic Cinemas 9.1 (2012): 19-34.
If I had eight hours, I’d watch all of these videos posted at the site of The Center for Place Culture and Politics:
Part 1: Opening Keynote (David Harvey) and Urban Uprisings of the 1960s: Living Legacies (Chair: Frances Fox Piven, Jordan T. Camp, Marian Kramer, Karen Miller)
Part 2: Global Urban Uprisings (Chair: Peter Marcuse, Hiba Bou Akar, Mavuso Dignani, Deen Sharp, Éva Tessza Udvarhelyi)
Part 3: Securitization and the City (Chair: John Whitlow, Mizue Aizeki, Christina Heatherton, Pete White, Helena Wong)
Part 4: Roundtable on How to Organize a Whole City (Chair: Kazembe Balagun, Ujju Aggarwal, Tammy Bang Luu, Rachel LaForest, Rob Robinson, Miguel Robles-Duràn)
The AAG has posted interviews with 25 Geographers from the “Geographers on Film” Archive available here. The first interview is with Carl O. Sauer (1889-1975) from 1970 (Berkeley, cultural [geography], founded Department@Berkley 1923, AAG Pres. 1940, Honorary AAG Pres. 1956).
Read the abstract in its original context here at Kairos: A Journal of Rhetoric, Technology and Pedagogy (and below)
Watch the project here:
Walking in the (Electra)City: A Fevered and Frivolous Spectacle
“What is no longer archived in the same way is no longer lived in the same way”
– Jacques Derrida, Archive Fever, 1995.
In 1984, Michel de Certeau, writing about the practices of everyday life, exposed us to a different way of thinking about our movements through (and our relationships with) the city as the center of cultural activity. While governments, institutions, and other structures of power designed the city according to particular strategies, for de Certeau it was the “tactical” movements of “passers by” that gave meaning to spaces and places of the city: that is, the walkers, wanderers, and window-shoppers created new paths through and new uses for the cityscape. They defined and redefined the city, and, in so doing, transformed (if not transcended) the strategic imposition.
Move forward nearly 30 years. The center of cultural activity now resides in the digital ether, the electra-city (here offered as a metonym for electrate culture); and it is ferried to you (rather than you to it) by tele-technologies, mediascapes, mobile devices, social networks, and so on. Given this shift, how might we need to rethink or even reconstitute de Certeau’s position in light of the 21st century? For not only are the ways we move through space itself notably altered (morphed by the cellular and computation prosthetics that aid in our daily activities), but the very notions of walking and city have also been Continue reading
Biting, humorous, well-done…
“If knowledge is about the city … then you are beginning to tell an urban story”
Great short video on how data is different from knowledge (“knowledge is not simply a data set”); getting knowledge from data requires an interpretation, an experience in a way that data does not. The video comes from the Picnic festival: Life in Readable Cities hosted by the European Journalism Center.
Here’s also her piece on “Why Cities Matter”.
For anyone interested in watching it here is a link to the lecture–or rather to the exercise in organized rambling–I gave at the University of Kentucky, now on UK vimeo:
To watch video, click above or go here: http://vimeo.com/50215247
Thanks again to the Department of Hispanic Studies there. The prezi itself can be seen in the background on the screen, but as announced before can also be viewed here. See also this previous post for more general information about the talk.
|[This just in from Beth Offenbacker at Virginia Tech]|
A progressive, generative, interdisciplinary exchange
SPIA initiates Ridenour Faculty Fellowship conference & research series.
A different conference format generating new approaches to the pressing problems of our time.
|Virginia Tech’s School of Public and International Affairs initiates a conference and research series promoting interdisciplinary discussion.
The purpose is to push through disciplinary limitations in understanding social phenomena and to suggest solutions to problems.
The first conference took place in April 2012 and focused on distressed cities.
|Our approach is twofold. First we advance a progressive, interdisciplinary exchange during each Ridenour Faculty Fellowship conference. Second, we build a research network between scholars, artists, and practitioners aimed at generating insights for practice and publications from research inspired by the conferences.|
Robert Beauregard, Columbia University, Talks About Depopulation and the Promise of Growth
John Provo, Virginia Tech, Talks About Development and Density
Margaret Cowell, Virginia Tech, Talks About Resilience
Derek Hyra, Virginia Tech, Talks About Displacement, Development and Extrapolation
Yang Zhang, Virginia Tech, Talks About Urban Planning Solutions and Culture
Visit our website to subscribe to updates,
including news about our forthcoming edited volume on Distressed Cities and also our next Ridenour conference in 2013.
Directed by Pedro Lazaga and released in 1965, La ciudad no es para mí is a light-hearted melodrama that, not unlike other films of the mid-dictatorship, continues an existing cinematic tradition of using ‘the generic confines of a popular comedy’ to explore more serious aspects of urban life in the Spanish capital (Larson 2012: 123). Heralded as the ‘most commercially successful Spanish film of the 1960s’ (Richardson 2002: 72), it features noted actor Paco Martínez Soria in the role of a rural-dwelling Spaniard who, unannounced, comes to live with his successful and modern son and the latter’s family in Madrid. The first five minutes of the black-and-white film – while they do not even introduce the central paleto character – thrust the spectator into quite a dynamic representation of the nature of urban life (see also Richardson 2002: 76-77). The two buildings clustered around Madrid’s Plaza de España that can be seen in the clip are the Torre de Madrid (when it was built the highest building in Europe?) and Edificio España.
The script reads Continue reading