DOCSLIB.ORG

Stephanie Hemelryk Donald Is Australian Research Council Future Fellow and Professor of Comparative Film and Cultural Studies at the University of New South Wales

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stephanie Hemelryk Donald Is Australian Research Council Future Fellow and Professor of Comparative Film and Cultural Studies at the University of New South Wales P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Stephanie Hemelryk Donald is Australian Research Council Future Fellow and Professor of Comparative Film and Cultural Studies at the University of New South Wales. Christoph Lindner is Professor of Media and Culture and Director of the Amsterdam School for Cultural Analysis at the University of Amsterdam. P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Inert Cities Globalization, Mobility and Suspension in Visual Culture Edited by Stephanie Hemelryk Donald and Christoph Lindner P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Published in 2015 by I.B.Tauris & Co. Ltd 6SalemRoad,LondonW24BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © Stephanie Hemelryk Donald and Christoph Lindner, 2014 The right of contributors to be identifed as the authors of this work has been asserted by authors in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress Catalog Card Number: available Printed and bound in Sweden by ScandBook AB P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Contents List of Figures vii Acknowledgements xi Notes on Contributors xiii 1 Inertia, Suspension and Mobility in the Global City 1 Stephanie Hemelryk Donald and Christoph Lindner Part 1 Stillness 2 On Hold: Urban Photography as Interruption 17 Shirley Jordan 3 At the Still Point of the Turning World: The Power of the Urban Portrait 41 Hugh Campbell 4 Parkour and the Still Image 59 Bill Marshall 5 Commuting and the Multiple Capacities of Stillness 77 David Bissell Part 2 Deceleration 6 Decelerating Amsterdam: Visual Culture, Globalization and Creative Urbanism 101 Christoph Lindner and Miriam Meissner v P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 7 Viennese Inertia: Cultural and Political Deceleration and Local Identity Construction 129 Heide Kunzelmann and Elisabeth Mayerhofer INERT CITIES 8 Inertia and Ethical Urban Relations: The Living, the Dying and the Dead 153 Stephanie Hemelryk Donald Part 3 Slow Motion 9 Urban Inertia and Dealing with the Disappeared in Post-War Beirut: A Perfect Day (2004) and Here Comes the Rain (2010) 173 Claire Launchbury 10 Refexive Stasis, Scale Reversal and the Myth of Modern Cinema 187 Lucia´ Nagib 11 Slow Motion Pictures: Casting Inertia in Contemporary Berlin Film 203 Andrew J. Webber Bibliography 219 Index 237 vi P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 List of Figures 1.1 Exploding China poster (adapted from the cover of How the City Moved to Mr. Sun by Michiel Hulshof and Daan Roggeveen). Courtesy of Stadsschouwburg Amsterdam, Michiel Hulshof and Daan Roggeveen. 4 2.1 Denis Darzacq, La Chute/The Fall (2007). Courtesy of the artist. 20 2.2 Denis Darzacq, Hyper (2009). Courtesy of the artist. 21 2.3 Valerie´ Jouve, Les Fumeurs/Smokers (1998). Courtesy of Galerie Xippas. 23 2.4 Valerie´ Jouve, Les Fumeurs/Smokers (1998). Courtesy of Galerie Xippas. 24 2.5 Valerie´ Jouve, Les Sorties de Bureaux/Ofce Exits (1998–2001). Courtesy of Galerie Xippas. 25 2.6 Valerie´ Jouve, Les Sorties de Bureaux/Ofce Exits (1998–2001). Courtesy of Galerie Xippas. 26 2.7 Valerie´ Jouve, Les Sorties de Bureaux/Ofce Exits (1998–2001). Courtesy of Galerie Xippas. 26 2.8 Li Wei, APauseforHumanity1(2005). Courtesy of the artist. 27 3.1 Luc Delahaye, untitled, from L’Autre. Courtesy of the artist. 44 3.2 Luc Delahaye, untitled, from L’Autre. Courtesy of the artist. 46 3.3 Luc Delahaye, untitled, from L’Autre. Courtesy of the artist. 47 3.4 Philip-Lorca diCorcia, Head #1 (2000). Courtesy of Pace/ MacGill Gallery, New York. 48 3.5 Philip-Lorca diCorcia, Head #23 (2000). Courtesy of Pace/ MacGill Gallery, New York. 49 3.6 Philip-Lorca diCorcia, Head #13 (2000). Courtesy of Pace/ MacGill Gallery, New York. 51 vii P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 3.7 Michael Wolf, untitled, from Tokyo Compression.Courtesyof the artist. 52 3.8 Michael Wolf, untitled, from Tokyo Compression.Courtesyof INERT CITIES the artist. 53 3.9 Michael Wolf, untitled, from Tokyo Compression.Courtesyof the artist. 54 4.1 Parkour ad for The Economist.Courtesyofthemagazine. 61 4.2 Kevin. Vauxhall Gardens, London. Photo by Andy Day. Courtesy of the artist. 62 4.3 Diego Ferrari, ‘National Theatre 1’ from Urban Habitat: A Coexistence of the Senses (2010). Courtesy of the artist. 63 4.4 Pete. Heygate, Elephant and Castle, London. Photo by Andy Day. Courtesy of the artist. 65 4.5 Dominic. Brownfelds, All Saints, London. Photo by Andy Day. Courtesy of the artist. 65 4.6 James. Brownfelds, All Saints, London. Photo by Andy Day. Courtesy of the artist. 66 4.7 Diego Ferrari, ‘Matthew Amitage’ from After Limits (2009). Courtesy of the artist. 68 4.8 Diego Ferrari, ‘Matthew Amitage’ from After Limits (2009). Courtesy of the artist. 70 4.9 Ben ‘Bam’ Milner jumping at Imax, Waterloo, October 2003. Photo by Andy Day. Courtesy of the artist. 72 4.10 Trajectory. Photo by Jonathan Lucas. Courtesy of the artist. 72 5.1 Parramatta Road, Camperdown, 5.25 p.m., 29 November 2012. Photo by David Bissell. 78 5.2 Windsor Road, Castle Hill, 9.05 p.m., 30 November 2012. Photo by David Bissell. 95 6.1 Kunststad (Art City) broedplaats at NDSM Wharf in Amsterdam-Noord, 2008. Photo by Akbar Simonse. 105 6.2 ‘Piet Hein’ construction site, Amsterdam, 2012. Photo by Miriam Meissner. 110 6.3 ‘Piet Hein’ construction site: archival photograph of the Kinkerstraat. Photo by Miriam Meissner. 111 6.4 Haarlemmerplein construction site and photography project, 2012. Photo by Miriam Meissner. 113 6.5 Section of photo-mural at Haarlemmerplein, 2012. Photo by Miriam Meissner. 113 viii P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 LIST OF FIGURES 6.6 Zoom delirium, Haarlemmerplein, 2012. Photo by Miriam Meissner. 114 6.7 Street View: residential window showcases, Kinkerbuurt, 2012. Photo by Miriam Meissner. 117 6.8 Street View:refection of Amsterdam in photograph. Photo by Miriam Meissner. 118 6.9 Street View:lonelyobjects.PhotobyMiriamMeissner. 119 6.10 Street View: slow walking. Photo by Miriam Meissner 121 6.11 Street View:elderlycouplecrouching.PhotobyMiriam Meissner. 122 6.12 Street View: urban farming in NYC. Photo by Miriam Meissner. 123 6.13 Urban farming/computing: design for Guangming Smart-city, 2007. Courtesy of CJ Lim. 124 6.14 Bellamytuin: urban farm-pods. Photo by Miriam Meissner. 125 7.1 Autodrom, Wiener Prater, 2012. Photo by Elisabeth Mayerhofer. 149 7.2 Signs of decay, Wiener Prater, 2012. Photo by Elisabeth Mayerhofer. 149 8.1 ‘Cleaning up’, Dreams of a Life (Morley, 2011). 156 8.2 ‘Remains of a life’, ICan’tSleep(Denis, 1994). 158 8.3 Alfred Fagon memorial statue at Grosvenor Road, Bristol. Sculptor: David G. Mutasa, erected by the Friends of Fagon committee, 29 August 1987. Photo by Steve Bevan. Courtesy of Canis Major Photography. 165 ix P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Acknowledgements This project developed through a fellowship funded by the Royal Nether- lands Academy of Arts and Sciences, supported by the Australian Academy of the Social Sciences and hosted by the ASCA Cities Project at the University of Amsterdam in 2011. A surprise visit from Bill Marshall of the Institute of Germanic and Romance Studies at the University of London helped us bring our thinking into focus. We begin, therefore, by thanking the funding bodies and the institutions that make such collaboration possible. For hosting the ensuing symposium in 2012, we thank Bill and the IGRS (now the Institute of Modern Languages Research). For providing funding and other support we thank the Arts and Humanities Research Council (UK), Netherlands Organisation for Scientifc Research, Amsterdam School for Cultural Analysis, the School of Media and Communication at RMIT University and the Amsterdam Centre for Globalisation Studies. As ever, it is the quality of academic input that brings a collaboration to fruition. We thank all contributors and speakers, those represented in this volume but also those who attended in London and shared their expertise, including old friends Harriet Evans, Eleonore Kofman, Laura Mulvey and Keith Reader. The realization of the book has been dependent on a wonderful editorial team, Phillippa Brewster and Anna Coatman at I.B. Tauris, and an exceptional editorial assistant and researcher, Miriam Meissner. Others have made contributions through introducing themes and ideas, even though they may not have realized that they were doing so. We therefore thank Paul and Birte Georghiades, Robert Buch, Tessa Ross, Fiona and Norman Fowler, the novelist Andrew Miller and the School of Humanities and xi P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Languages at UNSW and the Department of Media Studies at the University of Amsterdam.
Load more

Recommended publications
  • Michael Mcdermott
    LANDSCAPES AND THE MACHINE: ADDRESSING WICKED VALUATION PROBLEMS WHEN NORTH, SOUTH, EAST AND WEST MEET A thesis submitted in fulfillment of the requirements for the award of the degree Doctor of Philosophy by Michael McDermott Faculty of Design, Architecture and Building University of Technology, Sydney Supervisors: Associate Professor Jason Prior and Professor Spike Boydell 2015 Landscapes and the Machine: Addressing Wicked Valuation Problems when North, South, East and West Meet. i ABSTRACT This thesis is about engaging with the dynamic relationship between “landscapes”, “land tenure”, and the “machine”. The first term can be so broad as to mean every process and thing encountered, the second means the way that land is held by a person or group of persons, and the third means things both put together and used by humans to fulfil their wants and needs from the landscape. As a professional valuer I have been traditionally trained to engage at arms-length with the normative behaviour of persons or groups at the intersection of these three concepts, wherein those people and groups were willing but not compelled to engage. Such traditional valuation approaches are increasingly recognised as being insufficient to address wicked valuation problems of the diverse peoples and groups that inhabit the globe from North, South, East to West. This thesis develops a means of engaging with these wicked valuation problems in a suitably knowledgeable and prudent way. To do so the thesis adopts an exploratory approach guided by Whitehead’s process philosophy injunction of a creative advance into novelty. This approach is enacted through a range of data collection and analysis methods.
    [Show full text]
  • Mr Trumble.Pdf
    REVIEW OF EXHIBITIONS AND PUBLIC PROGRAMS AT THE NATIONAL MUSEUM OF AUSTRALIA SUBMISSION BY ANGUS TRUMBLE I wish to make the following submission in connection with DCITA’s 2003 Review of Exhibitions and Public Programs at the National Museum of Australia, Canberra. My thoughts about the NMA are largely the product of having for many years visited dozens museums all over the world, either out of interest or through my work as Curator of European Art at the Art Gallery of South Australia in Adelaide (1996 to 2001). However, I should also make it clear that I have had no professional contact with the NMA staff other than as an ordinary visitor, and it is in that capacity, not so much as an art museum curator, that I wish to comment on the building and aspects of the display, which I have studied carefully in the course of five visits in February and March this year. Despite the robust nature of many of my criticisms, I should say that I welcome the long-awaited arrival of the NMA. I believe it has a vital role to play in the cultural life of the nation, and the many problems that it must now solve are no more than temporary setbacks. None, apart from the terrible building, is insoluble, and even the building can be improved, I think, beyond measure. The architecture The design of the new NMA building is very poor and will not, I think, serve the long-term exhibition needs of the NMA. Nor will it open up new possibilities for public programming in the long term.
    [Show full text]
  • Not Even Past NOT EVEN PAST
    The past is never dead. It's not even past NOT EVEN PAST Search the site ... Of How a Hopi Ancient Word Became a Famous Experimental Film Like 65 Tweet by Montserrat Madariaga The theater is at its full capacity. The musicians are in place as the orchestra conductor starts to wave his arms in time with the image on the screen. There, little red dots emerge from a black background. They slowly widen and turn into capital letters: The word KOYAANISQATSI takes over. Keyboard notes evoking a church organ underline the mystery of the term and suit the dramatic hard-edged-typography. It is a Friday afternoon, February 23, 2018, in the Bass Concert Hall of the Texas Performing Art Center of The University of Texas, at Austin. The occasion is the screening of Godfrey Reggio’s 1982 lm, accompanied by the live performance of The Philip Glass Ensemble playing its original score music. Featured for the rst time to an ample public in the 1982 New York Film Festival, Koyaanisqatsi is an audiovisual art piece without dialogue or voiceover, deprived of any explicit narrative, that is nowadays a cult classic. It opens with a shot of the Holy Ghost Panel in Horseshoe Canyon, Utah, a human trace dated between 400 AD and 1100 AD. Then, footage of imposing natural landscapes and wildlife of the United States’ Southwest is followed by images of urban spaces: construction, crowded streets, demolitions, technology of the time, and so on. The collage escalates in its pace along with the music: utes, clarinet, trombone, viola, tuba, keyboards and vocals from time to time repeat the word “koyaanisqatsi” in a low pitched ceremonial tone that creates an apocalyptic atmosphere.
    [Show full text]
  • THE PINNING STONES Culture and Community in Aberdeenshire
    THE PINNING STONES Culture and community in Aberdeenshire When traditional rubble stone masonry walls were originally constructed it was common practice to use a variety of small stones, called pinnings, to make the larger stones secure in the wall. This gave rubble walls distinctively varied appearances across the country depend- ing upon what local practices and materials were used. Historic Scotland, Repointing Rubble First published in 2014 by Aberdeenshire Council Woodhill House, Westburn Road, Aberdeen AB16 5GB Text ©2014 François Matarasso Images ©2014 Anne Murray and Ray Smith The moral rights of the creators have been asserted. ISBN 978-0-9929334-0-1 This work is licensed under the Creative Commons Attribution-Non-Commercial-No Derivative Works 4.0 UK: England & Wales. You are free to copy, distribute, or display the digital version on condition that: you attribute the work to the author; the work is not used for commercial purposes; and you do not alter, transform, or add to it. Designed by Niamh Mooney, Aberdeenshire Council Printed by McKenzie Print THE PINNING STONES Culture and community in Aberdeenshire An essay by François Matarasso With additional research by Fiona Jack woodblock prints by Anne Murray and photographs by Ray Smith Commissioned by Aberdeenshire Council With support from Creative Scotland 2014 Foreword 10 PART ONE 1 Hidden in plain view 15 2 Place and People 25 3 A cultural mosaic 49 A physical heritage 52 A living heritage 62 A renewed culture 72 A distinctive voice in contemporary culture 89 4 Culture and
    [Show full text]
  • Foreign Land's Geography of Exclusion
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Central Archive at the University of Reading Back to the margins in search of the core: foreign land©s geography of exclusion Book or Report Section Published Version Nagib, L. (2013) Back to the margins in search of the core: foreign land©s geography of exclusion. In: Brandellero, S. (ed.) The Brazilian road movie: journeys of (self) discovery. Iberian and Latin American Studies. University of Wales Press, Cardiff, pp. 162-183. ISBN 9780708325988 Available at http://centaur.reading.ac.uk/32710/ It is advisable to refer to the publisher's version if you intend to cite from the work. Published version at: http://www.uwp.co.uk Publisher: University of Wales Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading's research outputs online Chapter Eight Back to the Margins in Search of the Core: Foreign Land ’s Geography of Exclusion 1 LÚCIA NAGIB ‘The Tagus is fairer than the river flowing through my village, But the Tagus isn’t fairer than the river flowing through my village Because the Tagus isn’t the river flowing through my village.’ Alberto Caeiro (Fernando Pessoa’s heteronym), ‘The Keeper of Flocks’2 ‘Lampião was great, but he often became small.’ Dadá, in Black God, White Devil 3 The crisis of the national project in the early 1990s, caused by a short-lived but disastrous government, led Brazilian art cinema, for the first time, to look at itself as periphery and reapproach the old colonial centre, Portugal.
    [Show full text]
  • The Social and Environmental Turn in Late 20Th Century Art
    THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.
    [Show full text]
  • Reflections on the Slow Marathon
    Reflections on the Slow Marathon The story of the courier Pheidippides’ original run from the Battle of Marathon to Athens in 490BCE, to announce Greek victory over the invading Persians, is well known. After completing the twenty-six-mile journey Pheidippedes, as legend has it, pronounced ‘Joy, we’ve won!’ and promptly died on the spot. With his ultimate act Pheidippedes marked out the territory for every subsequent marathon, each one run, whether knowingly or not, in his honour. What if he had walked? ***** As a first-time participant in the Berlin marathon in 2011 Deveron Arts’ director Claudia Zeiske became disillusioned by the legacy that has grown up in Pheidippedes’ name. In the run up to the event the competitors (many of whom of course enter in a spirit far removed from competition) were submitted to its organisational circus, culminating in a drawn-out registration event that entailed trudging for kilometres through a maze of sponsors’ tents and merchandise sellers laid out in the (now defunct) Tempelhof airport, like a twisted alternate reality where IKEA does marathons. During the race Claudia witnessed the inevitable agonies of runners reduced to crawling, and others, even less fortunate, unable to finish through injury or exhaustion, being carried from the route through the sea of plastic cups and bottles that had been discarded in the streets.1 The whole thing seemed futile, even barbaric. And yet, something had impelled her to do it, just as it had impelled the 1 There’s a surprising shortage of information available about the environmental impact of large scale marathon events.
    [Show full text]
  • Frjáls Eins Og Fuglinn Fljúgandi Parkour Og Freerunning: Bráð Lífshætta Eða Nýr Borgarlífsstíll?
    Frjáls eins og fuglinn fljúgandi Parkour og Freerunning: Bráð lífshætta eða nýr borgarlífsstíll? Íris Arthúrsdóttir Lokaverkefni til BA–gráðu í þjóðfræði Félagsvísindasvið Frjáls eins og fuglinn fljúgandi Parkour og Freerunning: Bráð lífshætta eða nýr borgarlífsstíll Íris Arthúrsdóttir Lokaverkefni til BA–gráðu í þjóðfræði Leiðbeinandi: Terry Gunnell Félags- og mannvísindadeild Félagsvísindasvið Háskóla Íslands Febrúar 2013 Ritgerð þessi er lokaverkefni til BA–gráðu í þjóðfræði og er óheimilt að afrita ritgerðina á nokkurn hátt nema með leyfi rétthafa. © Íris Arthúrsdóttir Reykjavík, Ísland 2013 Formáli Þessi ritgerð er tileinkuð sonum mínum Róberti Leó, Sigurði Ívari og Daníel Þorgeiri, en þeirra menningarheimur hefur verið minn helsti hugmyndabanki að áhugaverðum verkefnum á námsferlinum. Þeir hafa auk þess reynst móður sinni haukar í horni og aðstoðað dyggilega við hin ýmsu rannsóknarverkefni sem hefðu án þeirra íhlutunar verið illframkvæmanleg. Þið eruð sólargeislar lífs míns...takk. Akranes 23. Janúar, 2013 Íris Arthúrsdóttir 4 Útdráttur Í þessari BA-ritgerð í þjóðfræði er fjallað um hið nýtilkomna sport parkour og reynt að varpa ljósi á það með fjölbreyttum hætti út frá þjóðfræðilegu sjónarhorni. Ritgerðinni er skipt í sex hluta en í fyrsta kafla er stiklað á því helsta í rannsóknum á þjóðfræði barna og unglinga, rakin aðferðafræði rannsóknarinnar og viðmælendur kynntir til sögunnar. Í öðrum kafla er viðfangsefnið síðan sett í samhengi við hugtök og kenningar fræðimanna og er þar helst að nefna Johan Huizinga, Victor Turner, Alan Dundes og Michel de Certeau. Í kafla þrjú er sjónum beint að skilgreiningum á parkour auk þess sem skýrt er frá uppruna þess og þróun erlendis. Þar er að sama skapi hugað að útbreiðslu sportsins og hnattvæðingar með tilliti til aðkomu dægurmenningar og veraldarvefsins.
    [Show full text]
  • Playpandemic-Newer
    #PlayPandemic DON’T JUST SURVIVE... THRIVE Move over, Corona, there’s a new pandemic in town. It’s Play and it’s spreading like wildfire throughout the globe. I know, Covid-19 is no laughing matter - my heart #PlayPandemic aches for all those suffering from it’s far reaching effects. We’re going to meet the panic, fear and uncertainty with passion, purpose and joy. TABLE OF CONTENTS: What follows on these pages is an offering WELCOME / PAGE 3 of guidance, reassurance and practical steps to transform your forced-seclusion and social EXTRA RESOURCES / PAGE 4 distancing into a true family retreat. PLAY TIME / PAGE 8 This guide, and all the materials linked in it - are aimed to serve you. Pick and choose what works FOCUS TIME / PAGE 10 for you and release the rest. This is a #guiltfree and #judgementfree zone - we believe there is no one- MESSY TIME/ PAGE 13 size-fits-all and no such thing as “behind”. MOVEMENT TIME/ PAGE 16 So dive right in, make it your own and share it out. Let’s spread the #PlayPandemic like a wild fire. QUIET TIME/ PAGE 18 FAMILY TIME/ PAGE 20 SCREEN TIME / PAGE 22 DAILY FLOW SHEET / PAGE 27 Hey, I would love the chance to support you further and connect with you on a deeper and more personal level. Connect With Me Via Email I’ll share Live Q&A’s, updated play ideas and behind the scenes snippets... 2 WELCOME! At home all day with your kids? Social distancing? Now comes the tough love part: If you’re “stuck” at home with your Anxiety?...in this uncertain time I know you kids either way for the foreseeable future you have two choices: probably have so many questions, just like all the A) Suffer through it, waiting for it to end, perhaps crippled by anxiety other parents who reach out to me asking: How to or bursts of rage..
    [Show full text]
  • Kort Introduktion Til Parkour Og Freerunning
    Kort introduktion til Parkour og Freerunning Parkour 'Parkour' eller 'Le Parkour' er en bevægelsesaktivitet, som handler om at udvikle sig fysisk og mentalt gennem naturlige og ekspressive bevægelser. Den grundlæggende ide bag bevægelserne er at bevæge sig gennem omgivelserne hurtigt og effektivt i flow, dvs. at komme fra punkt A til B, mest effektivt og hurtigst muligt, udelukkende ved brug af kroppen. Miljøet er oftest bymæssigt. Bygninger, gelænder, vægge anvendes til fremdrift på en alternativ måde. Det handler om at se udfordring og muligheder der hvor andre ser begrænsninger og funktionalitet. Parkourudøverne kaldes ’traceurs’, hvilket kan oversættes til projektil eller kugle, som henleder til udøvernes kontinuerlige bevægelser. En rigtig traceur har gjort parkour til en central del af hans livsstil, og lever derved efter filosofien om at opleve frihed. Parkour startede som en subkultur, der udviklede sig i de franske forstæder, men har siden spredt sig ud i hele verden via Internettet. Oprindelse Franskmanden David Belle betegnes som grundlæggeren af parkour. Belles far, Raymond Belle, var løjtnant i Vietnamkrigen. Til at træne sine soldater til at bevæge sig effektivt rundt i junglen, anvendte han træningssystemet ’methode naturalle1’, der grundlagdes af Georg Hébert (1875- 1957).2 Methode naturelle er kort fortalt et system af filosofiske idéer og fysiske metoder, der ontologisk knytter sig til Jean-Jacques Rousseaus (1712-1778) og Johan Gutsmuths (1759-1839) filantropiske tanker om at vende tilbage til naturen og dannelse af det hele menneske3. Systemet bygger på en holistisk verdensforståelse, og tager udgangspunkt i effektivitet, flow og hurtighed.4 Raymond Belle introducerede David Belle for ideerne bag dette træningssystem, hvilket han tog med ud på gaderne i de franske forstæder.
    [Show full text]
  • Parkour/Freerunning As a Pathway to Prosocial Change
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ResearchArchive at Victoria University of Wellington Parkour/Freerunning as a Pathway to Prosocial Change: A Theoretical Analysis By Johanna Herrmann Supervised by Prof Tony Ward A thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Science in Forensic Psychology Victoria University of Wellington 2016 ii iii Acknowledgements Special thanks to my supervisor Prof Tony Ward for his constant support and constructive feedback throughout the pleasures and struggles of this project. His readiness to offer an alternative perspective has provided me with many opportunities to grow as a critical thinker, researcher, and as a person. I am grateful to Prof Devon Polaschek, Dr Clare-Ann Fortune, and all members of their lab for encouraging me to pursue an innovative research project, as well as for providing inspiration, insights and connections to other specialist research areas in offender rehabilitation. The German Academic Exchange Service deserves special mention for the financial support that allowed me to take up my dream course of study in the country that is farthest away from my home. Finally, I would like to thank Damien Puddle and Martini Miller for lively discussions, valuable feedback, and sharing the passion regarding research, parkour/freerunning, as well as youth development. iv v Abstract Parkour/freerunning is a training method for overcoming physical and mental obstacles, and has been proposed as a unique tool to engage youth in healthy leisure activities (e.g., Gilchrist & Wheaton, 2011). Although practitioners have started to utilise parkour/freerunning in programmes for youth at risk of antisocial behaviour, this claim is insufficiently grounded in theory and research to date.
    [Show full text]
  • Annual Report 2013-14
    Annual Report 2013-14 Annual Report 2013/14 In 2013/14 the Deveron Arts programme expanded into the Walking Institute, running in parallel with The town is the venue programme, this encompassed the following complementary programmes focusing on the culture, life and wellbeing of the rural town of Huntly and its place in the world. 1. Organisation and Management 2. Projects and Programme • Faceloop with Celia-Yunior • Slow Marathon : Cabrach to Huntly • Fernweh with Mary Jane Jacob • Lines Lost with Stuart McAdam • Pride of Place with The Caravan Gallery • Mackay of Uganda (research) • Hielan’ Ways - In the Footsteps of Nan Shepherd with Simone Kenyon - Symphony Way with Paul Anderson - The Golden Mountain with Alec Finlay - Hielan’ Ways Histories with Ron Brander • Aberdeenshire Ways with Jacques Coetzer and the Caravan Gallery • Cultural Health Visitor with Catrin Jeans 3. Other Projects and Events • Walking Institute • Other Events • Town Collection • Creative Place Award 4. Capital Development and Purchases 5. Publications & CD Launches 6. Networking and Training 7. Funding and Thanks Appendix: Media work Deveron Arts: the town is the venue 3 Annual Report 2013/14 1. Organisation and Management Curating and Programming 2013/14 formed the second year of Deveron Arts’ Hospitality programme which encapsulates: 1. Travel: Walking and other forms of Slow Travel 2. Hosting: Food, Eating and Accommodation 3. Understanding: Language and Communication This programme was successful in gaining financial support (Projects forming Programmes from Creative Scotland) and finding partnership collaborations locally and internationally. Funding from the EU Leader fund continued to fund the initial stages of the Walking Institute which has been set up by Deveron Arts/the town is the venue as a unique, year round centre of excellence within the walking & art discourse.
    [Show full text]