Re-Imagining the City: Art, Globalization and Urban Spaces
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devised, it would include a wide range of professional and amateur cultural production. But the Contemporary denotes only that category of art identified in a narrow vein by the art-world’s consensus. Perhaps a further link is that both consumerism and contemporary art operate through mainstreams, which are able to incorporate almost any departure from them. For instance, after the looting that occurred in London, Manchester and other English cities in 2011, one jeans company used a photograph
and Culture societies such as the leisure society or the information society; and agree with him that urbanization is characterized by a diversity of lifestyles, publics and cultural models. Schaefer and Stevens write: ‘The decisive point for us is that the city is appropriated space, that the process of urbanization describes a process of appropriation’ (Park Fiction 2006). They then adopt Lefebvre’s analysis of urban power at three levels: Level G (the global) denotes institutional power, in
asked about whether she could imagine ever checking in at every place that she went to, she replied that such a feat would be ‘impossible’. Moreover, ‘some routine places like home or company are not worthy checking in’. Here, the choice of words ‘not worthy’ is important. Jianjun (male, aged 27) used Jie Pang to ‘check in at some cool places and share [these] with my friends’. This was especially so if he was to go to a ‘new cool place, a meaningful place [as well as] some places with medals’.
moments or sustained periods of thought and embodied sensation that lead to the onset of ‘immanence, nostalgia and anticipation’ 100 ‘The Vacant Hotel’ (Edensor 2003: 154) for motorists. This assessment extends towards Edensor’s belief that the linearity of the road … dissolves as monuments, signs, and surprises form a skein of overlapping features, enveloping the motorway in a web of associations. This is a topography of possible sights and destinations that reference other spaces and times
complex networked relationships. When he wrote The Urban Revolution in 1970, Lefebvre recognized that a revolution was in progress, that society had become urbanized and that it was the urban that shaped society (Lefebrve 2003), but it was not until later applications of his ideas that the significance of urban consciousness has come to the forefront. Ben Highmore (2005) recognized the role that Rhythmanalysis could play in understanding cityscapes by taking movement and mobility as crucial