Barcelonan Okupas: Squatter Power! is the first book to combine close-readings of the representations of Spanish squatters known as okupas with the study of everyday life, built environment, and city planning in Barcelona. Stephen Vilaseca broadens the scope of Spanish cultural studies by integrating into it notions of embodied cognition and affect that respond to the city before and against the fixed relations of capitalism. Social transformation, as demonstrated by the okupas, is possible when city and art interrelate, not through capital or the urbanization of consciousness, but through bodily thought. The okupas reconfigure the way thoughts, words, images and bodily responses are linked by evoking and communicating the idea of free exchange and openness through art (poetry, music, performance art, the plastic arts, graffiti, urban art and cinema); and by acting out and rehearsing these ideas in the practice of squatting. The okupas challenge society to differentiate the images and representations instituted by state domination or capitalist exploitation from the subversive potential of imagination. The okupas unify theory and practice, word and body, in pursuit of a positive, social vision that might serve humanity and lead the way out of the current problems caused by capitalism.
We are pleased to announce the theme for our 2014 symposium, “Queering the Quotidian: Differential and Contested Spaces Within Neoliberalism.” Below you will find our CFP, which includes details regarding important dates and contact information.
2014 Symposium CFP – Queering the Quotidian: Differential and Contested Spaces Within Neoliberalism
The Society for Radical Geography, Spatial Theory, and Everyday Life invites submissions for our annual symposium to be held March 07, 2014 at Georgia State University in Atlanta, GA. This year’s theme is “Queering the Quotidian: Differential and Contested Spaces Within Neoliberalism,” and our keynote address will be delivered by Dr. Jen Jack Gieseking of the Digital and Computational Studies Initiative at Bowdoin College. Gieseking’s work examines the everyday co-productions of space and identity that support or inhibit social, spatial, and economic justice in urban and digital environments, with a special focus on sexuality and gender.
While many critical interrogations of neoliberalism…
View original post 272 more words
I stumbled across this project by a group of Amsterdam University-based students of new media who are putting together videos and Henri Lefebvre’s remarks on rhythmanalysis.
They write that:
“Our videos employ main themes of Lefebvre’s book such as rhythm and capitalism, critique of everyday life, rhythm, sound and the city, flows of capital and flows of crowds etc. The videos are not meant to illustrate the book but rather to engage into the theory of Lefebvre in depth through practice, through observation and art. Moreover, the blog contains several additional readings to the topic and other activist/artist projects based on the same themes.”
The site is here:
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.
CFP-edited book on Marxism and Urban Culture
Submissions are invited for an edited book on Marxism and Urban Culture that has received initial interest from an international publisher known for their strength in Marxian-themed series and titles.
While all abstracts using a Marxian framework to approach culture in urban contexts are welcome, it is anticipated that submissions will conform to one of two subtypes reflecting the division of the book into Continue reading
I just returned from delivering an invited lecture at the University of Kentucky, which I titled:
Clicking on the above link will take you to the prezi that accompanied the talk, which includes video and audio clips, although it leaves out the first 15-20 minute set-up which was devoted to the academic spat between C.P. Snow and F.R. Leavis in their 1959 and 1962 lectures (see an earlier post). The talk was a form of organized rambling at a general level about Lefebvre’s insights into cities, the timeliness of urban cultural studies, interdisciplinary issues in general, David Harvey, city rhythms, and so on, so a lot is left out of the prezi alone, but it may still be interesting to watch. Given that I was pitching the talk so broadly, I was thrilled that so many non-Hispanic Studies faculty/students were able to make it.
If you haven’t seen or used prezi before (higher functionality/privacy free for educators with an .edu email address) I can say that it may blow your mind as a presentation format (I was blown away when I first saw this used at a conference last year). After watching a prezi (many are ‘public’/freely available on the site to view) it becomes clear just how much power point presentations are linked to the cultural moment in which I grew up–which revolved around linear slideshows of non-digital photography (didn’t you hate it when that one slide got stuck in the projector?).
Special thanks to U Kentucky Professors Susan Larson and Aníbal Biglieri in particular, and also to many other faculty members from both the Department of Hispanic Studies there (and its fantastic graduate students) and beyond, for making it such a great experience!
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