Showing posts with label capitalism. Show all posts
Showing posts with label capitalism. Show all posts

Thursday, October 18, 2012

Place Making, Place Breaking

Lots of discussions about 'place' and 'placemaking' over the last few weeks. In Paisley and Glasgow, with my colleagues Gayle McPherson and Liz Gardiner, we've been running a short course in Cultural Planning which through a mix of walking and talking and mapping has been enabling a small committed group to explore questions about the relationships of culture to planning and community development. We visited projects in Govan and Easterhouse which in different ways are  advocating for and accelerating locally rooted cultural provision, for the rights of residents to be able to access spaces and resources for self-expression and representation. We drew on a number of approaches but focussed in on the particular school of participatory cultural planning involving mapping local cultural resources which owes a lot to Franco Bianchini and Lia Ghilardi, but also which has much in common with the school of 'asset based community cultural development' championed by people like Tom Borrup and Arlene Goldbard in the USA.




Then, the week before last, we hosted a reception at the new UWS Ayr campus for delegates to Architecture and Design Scotland's Design Skills Symposium and there was much discussion about how Ayr might become a 'university town' rather than 'a town with a university'. This raised many questions about the idea of learning towns, access to learning resources; the question I left with was 'where does learning take place anyway?' I've always been more interested in the idea of educators  developing and designing learning environments, contexts and situations rather than formally planned instruction - learning through exchange and conversation, rather than through one way transactions (a.k.a. Freire's 'banking' education).  Next Monday night I'm chairing a discussion with the Ayr Converses group  which will focus on 'adaptation' - again thinking about how places can reinvent themselves through small tactical acts of reclamation and redesign of existing spaces and buildings.

In the intervening period I've been in Mumbai, visiting Ben Parry, the artist and researcher who's doing a PhD with us at UWS and whose edited volume Cultural Hijack: rethinking intervention tells some important hidden stories about radical public art practice over the last 30 years or so. He's doing a very different kind of ambulatory practice in the hot, dry, dusty and very dirty world of Dharavi, working with families, workers and NGOs in the 13th Compound, which is the core of the recycling business. There, in intense conditions in packed makeshift factories, teams of ultra low paid workers reprocess waste bought from the brokers who buy from the ragpickers who systematically scavenge from the tips of Mumbai, and turn it into raw materials and products that can be resold by their bosses - cans, paint, glue, wood, fabrics, plastics, bottles, metal fabrication, side by side with bakeries, food shops and every conceivable item for sale. It's free market economics in an unbridled form, barely regulated, with little regard for the long-term health of the people living there, but offering plenty of opportunities for entrepreneurs and advancement.
And it runs at full steam with an apparently endless supply of cheap labour to feed the machine. The dark mirror of globalisation?




During this visit, Ben has been focussing on gathering together the stories of the families who were displaced from the section of the water pipeline that runs through the western boundary of the 13th Compound, when the city authorities came to bulldoze the settlement 18 months ago.



Dharavi, as one of the largest 'informal' urban agglomerations in Asia, has been written about and researched relentlessly. As an 'urban enterprise zone' it has become globally known and regularly attracts the attention of researchers seeking to understand the dynamics of Asian megacities, models of entrepreneurship and issues in public health/development.  Prior to demolition, the section along the pipeline had become a particularly iconic location, not least because tourists and photographers could stand on the bridge on the Mahim Sion Link Road and shoot telephoto portraits of the inhabitants without having to seek permission or venture further inside. It was also used as a location to produce cover shots for National Geographic and featured in Slumdog Millionaire. Ben's project, Reversing the Gaze, seeks to interrogate "his own outsider 'gaze' and that of others who come to extract knowledge about Mumbai's informal urban practices."




There will be a small exhibition of photographs on the bridge next to the offices of Ben's current hosts, the Acorn Foundation, and some of this work will feed into more projects that Ben will develop over the next couple of years. Acorn is an NGO that does advocacy and education work with children and their families, with a particular focus on access to artistic expression. We travelled with the young people of Acorn to an air-conditioned downtown auditorium where they performed in a high energy junk percussion ensemble to a well-heeled audience of diplomats, donors and dignitaries. A collision of lives and worlds, anaethetised by emollient speeches about the need to do more for the condition of the poor, all made by people who'll never have to live anywhere like Dharavi. Ben will present a talk at CCA Glasgow about the project on the 23rd November, and a podcast/audiovisual piece of documentation is coming soon.

All of these experiences have made me reflect on how important it is to try to think beyond the simplistic binary categories/shorthands that are used to describe the different conditions in which people live, and the ways in which public political debates tend to boil down complex problems to simple slogans - an inevitablilty of policymaking and advocacy perhaps. What is at stake when heavily populated, heavily utilised, heavily productive urban areas are described as 'no-go areas' or 'slums'? The relationships between the formal/informal, the  so-called affluent and the deprived, the 'socially included' and 'socially excluded' are not easily understood as polar opposites once there's an encounter with material social worlds. A fascination with the condition of urban poor has preoccupied writers and explorers for centuries, from Henry Mayhew through Jack London through George Orwell, amongst many others, but the key question is - who gets to write/inscribe whose histories? In whose interests are these stories being told? Perhaps it suits city authorities just to write off zones of apparent poverty and extremity, and the story of the destruction of the pipeline community is a particularly potent example of an urban hotspot where these narratives of inclusion and exclusion, of formal infrastructure and informal habitation, of questions of land value and labour value, collide in explosive ways.

Now back in Scotland, I'm thrust straight into the Love Milton and Theatre Modo projects which are being undertaken as part of the Remaking Society intiative - which in some ways connect with these issues because they are also concerned with trying to articulate and demonstrate an 'asset-based' approach to community cultural development which tries to view communities as resourceful and gifted, unlocking potential rather than writing zones off as 'deprived'.

Places are designed, but they are also performed - they are the product of multiple interactions across power structures, economic flows, cultural norms etc; Designers and planners might think that they manipulate the conditions - economic, social, material - in which interactions take place but everyday performance - how places/objects are inhabited and used -  also shapes and reshapes them. This dynamic might also be used to describe the tensions between masterplanning (hierarchical) approaches and user-centred design (network/peer-to-peer); the actuality is that there is always an relationship between the two and this clash of perspectives, where grand infrastructure projects seem to be presented as 'solutions' is thrown into sharp relief in megacities like Mumbai. In this video, National Geographic seems to like the idea of using India's ingenuity and expertise in large-scale engineering to build massive bypasses: 

However, it's interesting that the solutions promoted by city planners focus on free flowing highways and arterial infrastructure, servicing the orgy of high rise development underway; there may well be other more indigenous and appropriate solutions to issues of urban improvement if the planners paid more attention to the actual patterns of inhabitation that shape the way most people survive.

Places are also the product of narratives - shaped by all the different stories that are told and retold about them. So sensitive urban development has to start with an understanding of the complexities of power and acknowledge the expertise and inside knowledge of people who live in particular situations. Matias Echanove and Rahul Srivastava of Urbz, the organisation which facilitated Ben's passage into Dharavi, articulate this dynamic in thoughtful ways

           "A combination of greed, prejudice, and ideological bias prevents the authorities from    supporting the incremental, locally-driven development of Dharavi. The labeling of it as a ‘slum’ has the perverse effect of delegitimizing a neighborhood altogether and thus justifying the lack of provision of public services. This is because slum dwellers are perceived as squatters who have no rights to the city.  Thus, the label of ‘slum’ is itself the biggest obstacle in the improvement of the quality of life in Dharavi and other such settlements. This is why through actual and conceptual intervention we aim at normalizing a neighborhood that doesn’t have much to gain from being described as an exception. What we should recognize is that Dharavi is a natural urban formation, unique and banal at once. It is the tip of the iceberg. Dharavi is urban India at its best, because it is a testimony to the capacity of people to lift themselves up against all odds; and at its worst because it also has the messed up aspect of a creature that was beaten up, marginalized and oppressed by powerful forces over too many years."

Contrast this approach with the teleologies and ideologies of competitive world city discourses - the way governments and authorities talk about positioning cities so that they can be high performers/winners in the economic arms race, of branding, of 'attracting inward investment'. In recent years the language of policy makers and their corporate 'partners' seems to have focussed on making Mumbai  a 'world class city' which given the intense congestion, creaking infrastructure and spectacular income differentials, presents considerable planning paradoxes.  In one sense Mumbai could be read as a paradigmatic future city, here right now - it presents a vision of what happens when neoliberal capitalism is allowed to unfold without reference to the right to the city of all citizens - a chaotic, dense, dynamic clash of commerce, cultures, classes; a dynamic that might find some of its origins in the experience of colonial rule and in the wider economic histories of India's exposure to globalisation processes.  In the meantime, the corporate world seems to be doing its best to erase from view much of the actual condition of the majority citizens of this 'world city' and instead fetishize the immense 'wealth creation' opportunities for the winners in the economic race. It's interesting to think about to whom this clever ad is addressed: 


Such  dreamworlds of neoliberalism seem to me to be a horribly inadequate response,  given the challenges of making the most basic human rights entitlements -  a decent standard of sanitation, housing, education, healthcare etc - available to the majority of the population. But of course Mumbai is far from unique in this dynamic. The privileged and powerful always seek to shape place narratives in their own interests. And the sheer size, scale, energy and dynamism of India and its ambitious, optimistic peoples provides plenty of possibility for radical change. Here's a documentary called "Build it Bigger" about the remaking of Mumbai's main airport. 

What if the current effort to promote "global infrastructure" could be connected to a similar intensity of ambition to improve basic local infrastructure or greater equity of access to resources? A segment of contemporary India's relentless persuit of growth and 'wealth creation' appears to have become largely uncoupled from the attempts to promote social progress or economic development for the poorest half of the population. A model for David Cameron or Mitt Romney to emulate perhaps? 

Tuesday, October 19, 2010

MashingUp: Art+Labour, 9th November

CCA 5
Tue 9th Nov 2010
12.30-6pm
Art+Labour is a public conversation exploring the conditions and experiences of creative labour in the cultural industries – working conditions, pay, working hours; freedom and autonomy, pleasure and obligation; insecurity and uncertainty; social reproduction, networking and isolation – and artists’ organising within it – unions, artists’ associations, or self-organised studio/exhibition spaces.
What diverse forms of employment do artists undertake? Who are their employees? How secure and how flexible are these forms of employment? What are the conditions of employment and how are these changing? What can we say of artists’ autonomy in relation to contemporary labour practices? How do cultural workers effectively organise around labour issues? What would it mean for artists to withdraw their labour in defence of conditions in one’s primary or secondary employment? With successive governments’ emphasis on arts’ social function, how does communality express itself in competitive Creative Industries? What is industrial about the Creative Industries; where do ‘Cultural’ producers sit within the policy frame of the ‘Creative’ Industries? How do we as cultural producers recognise our own positions and dependency on/within/alongside the public sector? With the entrepreneurial restructuring of the arts in Scotland and in the face of selective public sector cuts throughout the UK, how constructive are artists’ isolated appeals for a state of exception? What is so unique about artists in the social factory?
These are some of the questions to be addressed during this public conversation. The discussion is open to anyone – cultural workers, artists, students, interns, precarious and self-organised labour affiliated to academia – concerned with issues of art, labour and economics. The event will begin with a series of short position statements from invited speakers followed by discussion among panelists and audience.
Panelists include:
Angela McRobbie
Professor of Communications, Dept. of Media & Communications, Goldsmiths
Scottish Artists Union
The representative voice for artists in Scotland
Graham Jeffery
Reader: Music and Performance, The School of Creative and Cultural Industries, UWS
Katarzyna Kosmala
Reader, Centre for Contemporary European Studies, UWS
Gesa Helms
Researcher & artist
Brett Bloom
Member of Chicago-based art collective Temporary Services who recently produced ‘Art Work : A national conversation about art, labour, and economics’
Owen Logan
Researcher, School of Divinity, History and Philosophy, University of Aberdeen
Facilitated by Gordon Asher
Effective Learning Tutor, UWS Centre for Academic & Professional Development
Event is free but ticketed, tickets available from CCA Box Office:
CCA, 350 Sauchiehall Street, Glasgow G2 3JD
tel : +44 (0)141 352 4900
http://www.cca-glasgow.com
“MASHING UP” : Art+Labour is organised by Leigh French, co-editor of Variant, and Sophie Hope, member of Making A Living, in co-operation with Graham Jeffery of The School of Creative and Cultural Industries, University of the West of Scotland, and supported by CCA, Glasgow.
“MASHING-UP…”
A Public Lecture Series presented by UWS and CCA
This ongoing lecture series stimulates critical, transdisciplinary research communities to discuss advanced knowledge and to build networks of excellence among producer communities.
‘Mashing up’ [definition]
“a mashup is a web page or application that combines data or functionality from two or more external sources to create a new service. The term mashup implies easy, fast integration…to produce results that were not the original reason for producing the raw source data” (Wikipedia, 2009).
The lecture series
exhibits the values of new media culture to explore synergies between institutions, ideas and disciplines. This aspiration originates with the UWS and CCA partnership, which extends to the specific areas of inquiry that we pursue. It advances the core mission of each organization to initiate applied, international research opportunities through experimental, local dialogue to foster collaborative, bottom-up, sustainable practices of development.
#mashingup
We want attendees to blog, photograph, film, tweet and do all they can to share the content of these talks to democratize access to knowledge.
LINKS
http://uwspracticeresearch.blogspot.com
http://www.sau.org.uk
http://www.temporaryservices.org
http://www.artandwork.us

Friday, December 07, 2007

Christmas commodity fetishism

A few web shopping places that have caught my eye in the search for interesting gifts this year:

Rare Device, Brooklyn and San Francisco

Dosh Wallets in Sydney

Swiss Miss, from New York

The ever-exciting and totally comprehensive Vinçon, in Barcelona...



Design 3000, based in Berlin

See Jane Work, Thousand Oaks, CA

Design Within Reach, USA - not merely shops but 'design studios'

etc etc

Enough, enough!...or I will produce a bucket of designer vomit in disgust at my own greedy hypocrisy.