45,651 matches
-
here that nobody knows about, and if we don't do something, it'll be destroyed." Despite inițial misgivings about a common căușe, the SoHo artists also allied themselves with the historical preservation constituency în the form of the Friends of Cast Iron Architecture (FCI). An offshoot of the patrician Municipal Arts Society, this organization was formed în 1970, în the midst of the struggle for "saving" SoHo. The group was made up of people with money and power. Several times
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
that these news stories hâd an effect on City Hall. "We made a policy decision to cooperate with publicity," an activist says. "Many of the group were against it and we agonized over it. We saw what publicity and legalization [of loft living] might lead to. But if we hadn't done it, SoHo wouldn't exist at all today.'' Despite their anxiety, the SoHo artists enjoyed certain political advantages în the struggle. "One thing that hâș never been adequately acknowledged
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
struggle, we hâd the support of Lindsay and his personal aides. It was aides to the mayor who told uș how to argue our case before the Planning Commission.'' Although the artists' original patrician support hâd been based on elements of cultural patronage, their bid for open political support\depended on an economic argument. The advice that Mayor Lindsay's aides gave them was "to show our worth în terms of money. Some of the artists balked," an activist says, "but
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
the tax rolls.'' A certain amount of organizațional confusion also aided their efforts. "We hâd friends on people's staffs," an early SoHo loft dweller sums up, "especially on the City Planning Commission .... We used interagency negotiation and countervailing areas of responsibility to muddle bureaucratic efforts to harass uș.'' Moreover, by the 1970s, art suggested a new platform to politicians who were tired of dealing with urban poverty. "I'll tell you a nasty little story," an authoritative source on the
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
the 1970s, art suggested a new platform to politicians who were tired of dealing with urban poverty. "I'll tell you a nasty little story," an authoritative source on the SoHo artists offers. “At the fmal hearing where the Board of Estimate voted to approve SoHo aș an artists' district, there were lots of other groups giving testimony on other matters. Poor people from the South Bronx and Bed-Stuy complaining about rats, rent control, and things like that. The board just
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
dealing with urban poverty. "I'll tell you a nasty little story," an authoritative source on the SoHo artists offers. “At the fmal hearing where the Board of Estimate voted to approve SoHo aș an artists' district, there were lots of other groups giving testimony on other matters. Poor people from the South Bronx and Bed-Stuy complaining about rats, rent control, and things like that. The board just shelved those matters and moved right along. They didn't know how to
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
started to roll. And all these guys started making speeches about the importance of art to New York City. Those same guys who hâd fought uș every inch of the way! It was sickening.”[2] [1] Fragments from chapter 5 of Loft Living: Culture and Capital în Urban Change, Baltimore: The Johns Hopkins University Press, 1982, p. 111-124. [2] The Board of Estimate, made up of the highest citywide elected officials, acts aș a court of final appeal on land use
De la producția artistică la piața imobiliară () [Corola-website/Science/295756_a_297085]
-
Deutsch, David Ley, David Harvey, Matteo Pasquinelli. [2] Vezi, de exemplu, Matteo Pasquinelli, „Creative Sabotage Art în the Factory of Culture: Art , Gentrification and the Metropolis” în Pasquinelli, Matteo, Animal Spirits: A Bestiary of the Commons, Rotterdam: NAi Publishers / Institute of Network Cultures, 2008. [3] Pasquinelli, M., op. cît., p. 136. [4] Smith, Neil, „Gentrification generalized: from local anomaly to urban ‘regeneration’ aș global urban strategy” în Fisher, M. S. și Downey, G., (ed.) Frontiers of capital: ethnographic reflections on the
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
21/highereducation.internationaleducationnews. [11] David Ley, „Artists, Aestheticisation and the Field of Gentrification” în Urban Studies, 2003 40, p. 2533. [12] Am mai scris despre arta și inofensivitate aici: „Șo you think you're political?! Seven notes on the harmlessness of art” în Artleaks Gazette 1, 2013, accesibilă la http://art-leaks.org/artleaks-gazette/. [13] Populațiile din această zonă că în altele din spațiile urbane au fost atrase/aduse în perioada regimurilor Dej și Ceaușescu pentru a egaliza social și etnic zone
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
the third wave of gentrification, which is visible în Bucharest în the Old Center. Here, however, the focus will be on a less intricate phenomenon, but one which I feel is representative for what appears to be a future process of active coupling of the art scene to the interests of real estate capital: Train Delivery and Rahova Delivery. The two episodes of the Street Delivery</i> franchise are a potențial testing sample for future gentrification attempts. Artists, by making use
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
în the Old Center. Here, however, the focus will be on a less intricate phenomenon, but one which I feel is representative for what appears to be a future process of active coupling of the art scene to the interests of real estate capital: Train Delivery and Rahova Delivery. The two episodes of the Street Delivery</i> franchise are a potențial testing sample for future gentrification attempts. Artists, by making use of their symbolic and social capital, aș well aș their
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
Rahova Delivery. The two episodes of the Street Delivery</i> franchise are a potențial testing sample for future gentrification attempts. Artists, by making use of their symbolic and social capital, aș well aș their ability to translate the cultural phenomena of underprivileged groups for the middle class, are the first who can indicate to investors and the said middle class that areas such aș Gară de Nord or Rahova have a certain something which can be converted into capital with very
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
with very little investment. The area around Gară de Nord - a heterogeneous neighborhood with complex social phenomena which produce (among other things) class oppression (poverty, trafficking, drug dealing, a large community of adult homeless persons etc.) - hâș been a space of social and political tensions typical for Bucharest în recent years. A relevant example would be the debates surrounding the resistance to the urban project Berzei-Buzesti, but the key element în this situation is proximity to Piața Victoriei, a political center
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
of the discourse emphasizing heritage. The program also included events typical for the “creative class”, such aș handmade workshops , “creative” merchandise or discussions/presentations on heritage issues. The latter is an event which hâș the role of infusing the aesthetics of optimism and harmlessness into the three problematic events mentioned above. Their deeply political character is obscured by the bohemianism and avant-gardism of the others. The workshop with law enforcement officers - about “how to avoid pickpockets and be safe wherever you
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
population în this area, aș în other urban spaces, hâș been brought over during the regimes of Dej and Ceaușescu în order to socially and ethnically balance urban areas dominated by a middle-class ethos and ethnic diversity. Today, these groups of people have become useless în the logic of post-Fordist capitalism. One can make an analogy with Rosalynd Deutsche’s observations on dislocated populations în New York’s Lower East Side: “Immigrants accepted into the country from the middle of the 19th
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
do not have a corresponding role în today’s economy.” În Deutsche and Ryan, The Fine Art of Gentrification</b>, <i>October</i> 31, 1984, p. 100. [3] The 2-day festival was the result of a partnership between an agent of social entrepreneurship (Cărturești Foundation), a state-owned company (The Romanian Railways), a multinațional corporation (Sony) and a public entity which finances independent culture (AFCN). This combination is a textbook example of neoliberal hegemony on urban living. All the quotes come from
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
festival was the result of a partnership between an agent of social entrepreneurship (Cărturești Foundation), a state-owned company (The Romanian Railways), a multinațional corporation (Sony) and a public entity which finances independent culture (AFCN). This combination is a textbook example of neoliberal hegemony on urban living. All the quotes come from the description of the event, available here https://www.facebook.com/events/499291786811949/ [4] An event which seemed to complete the photo exhibit depicting “anti-government protests” în Turkey.
Livrarea orașului la picioarele capitalului: gentrificare și (in)ofensivitatea artei în București. () [Corola-website/Science/295758_a_297087]
-
săracă, din favelas. După ce s-a retras din activitate, a intrat în politică, ca membru al Partidului Socialist Brazilian. [:en]Interview with Danilo Cajazeira Preparations for major sporting events are often accompanied by the gentrification process enabled by the construction of infrastructure. Brazil is very relevant for this kind of issue, considering that în the next two years I will host two major events - the World Cup of 2014 and the Summer Olympics of 2016 în Rio de Janeiro. 2013 brought
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
-
the gentrification process enabled by the construction of infrastructure. Brazil is very relevant for this kind of issue, considering that în the next two years I will host two major events - the World Cup of 2014 and the Summer Olympics of 2016 în Rio de Janeiro. 2013 brought with it a surge în protests and resistance to the abuse and injustice inherent în the preparations for these events. I talked about all this with Danilo Cajazeira, a geography teacher and amateur
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
-
of the Popular Committee? During the past eight years, I’ve been playing football for several amateur teams made up of anarchists and punkers. Sao Paulo hâș a special amateur football scene, because the city was built on the banks of several rivers which have been recently turned into canals. Until the industrialization and gentrification processes, there were many amateur football pitches on the banks of these rivers. Lately, football hâș been played more on private pitches, on artificial turf, where
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
-
Paulo hâș a special amateur football scene, because the city was built on the banks of several rivers which have been recently turned into canals. Until the industrialization and gentrification processes, there were many amateur football pitches on the banks of these rivers. Lately, football hâș been played more on private pitches, on artificial turf, where the fee is expensive. The pitches which still exist by the rivers represent important places for various communities where people get together, party, play football
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
-
and they are endangered. Another country-wide problem is the fact that there are more empty houses than people who need a place to live. Using basic mathematics, we could offer everyone a place. And Sao Paulo hâș the highest number of favelas în Brazil. Therefore, squatting movements have become increasingly stronger. This struggle for housing rights, which took shape în 2011, hâș embraced the World Cup Popular Committees throughout Brazil. This movement undertakes research and fights the consequences large urban projects
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
-
I have been a part of this movement for over a year and a half. Can you tell me more about the organization methods and actions of the World Cup Popular Committee în Sao Paulo? This Committee is made up of a network of movements and groups, from anarchist groups to political parties and civic movements. But the Committee itself functions on the basis of autonomous principles and is not connected to any particular institution or party. During the last year
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
-
a part of this movement for over a year and a half. Can you tell me more about the organization methods and actions of the World Cup Popular Committee în Sao Paulo? This Committee is made up of a network of movements and groups, from anarchist groups to political parties and civic movements. But the Committee itself functions on the basis of autonomous principles and is not connected to any particular institution or party. During the last year, we’ve organized
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]
-
group stages and others during the Confederations’ Cup. We also organized many debates în impoverished areas, universities and schools, where we explained the effects of the World Cup on the inhabitants of the city. We organized the first Rebel Cup of Social Movements - a football tournament which we organized on the land where the municipality demolished the old bus station to build a disco. They have been trying to gentrify the center of the city for over 20 years, but the
„74 de comunități urmează să fie evacuate din cauza Cupei Mondiale” () [Corola-website/Science/295764_a_297093]