Subversive Mobilities

Transfers ◽  
2013 ◽  
Vol 3 (1) ◽  
pp. 7-25 ◽  
Author(s):  
Mikkel Thelle
Keyword(s):  
Public Space ◽  
Cultural History ◽  
Turn Of The Century ◽  
Public Action ◽  
History Of ◽  
Urban Conflict

The article approaches mobility through a cultural history of urban conflict. Using a case of “The Copenhagen Trouble,“ a series of riots in the Danish capital around 1900, a space of subversive mobilities is delineated. These turn-of-the-century riots points to a new pattern of mobile gathering, the swarm; to a new aspect of public action, the staging; and to new ways of configuring public space. These different components indicate an urban assemblage of subversion, and a new characterization of the “throwntogetherness“ of the modern public.

scholarly journals Imperfect sound forever: loudness wars, listening formations and the history of sound reproduction

Popular Music ◽  
2013 ◽  
Vol 32 (2) ◽  
pp. 159-176 ◽  
Author(s):  
Kyle Devine
Keyword(s):  
Cultural History ◽  
Turn Of The Century ◽  
Controversial Issues ◽  
Average Volume ◽  
Sound Reproduction ◽  
Volume Level ◽  
History Of ◽  
Listening Experience ◽  
Historical Trajectory ◽  
Music Recordings

AbstractThe purpose of this paper is to provide some historical perspective on the so-called loudness war. Critics of the loudness war maintain that the average volume level of popular music recordings has increased dramatically since the proliferation of digital technology in the 1980s, and that this increase has had detrimental effects on sound quality and the listening experience. My point is not to weigh in on this debate, but to suggest that the issue of loudness in sound recording and playback can be traced back much earlier than the 1980s. In fact, loudness has been a source of pleasure, a target of criticism, and an engine of technological change since the very earliest days of commercial sound reproduction. Looking at the period between the turn-of-the-century format feud and the arrival of electrical amplification in the 1920s, I situate the loudness war within a longer historical trajectory, and demonstrate a variety of ways in which loudness and volume have been controversial issues in – and constitutive elements of – the history of sound reproduction. I suggest that the loudness war can be understood in relation to a broader cultural history of volume.

scholarly journals Breaking the Codes: Female Criminality in Fin-de-Siècle Paris

1970 ◽  
pp. 69-71
Author(s):  
Christopher E. Forth
Keyword(s):  
Cultural History ◽  
Turn Of The Century ◽  
Fin De Siecle ◽  
Weimar Germany ◽  
Female Criminality ◽  
Sexual Murder ◽  
Fin De Siècle ◽  
History Of

Ann-Louise Shapiro's Breaking the Codes: Female Criminality in Fin-de-Siècle Paris is a compelling and innovative cultural history of the problem of the female criminal in France at the turn of the century. Shapiro's work is also refreshingly distinct from other histories of this period in that it brings a sense of theoretical rigor to her primary argument that the female criminal was "a code that condensed, and thus obscured, other concerns" (p. 4). In this sense Shapiro's work is reminiscent of Mary Louise Roberts' Civilization Without Sexes: Restructuring Gender in Postwar France, 1917-1927 (Chicago, 1994) and Maria Tatar's Lustmord: Sexual Murder in Weimar Germany (Princeton, 1995), recent works which address historical responses to the problem of dangerous femininity.

scholarly journals The Taming of Psidium guajava: Natural and Cultural History of a Neotropical Fruit

2021 ◽  
Vol 12 ◽  
Author(s):  
Edna Arévalo-Marín ◽  
Alejandro Casas ◽  
Leslie Landrum ◽  
Myrtle P. Shock ◽  
Hernán Alvarado-Sizzo ◽  
...  
Keyword(s):  
South America ◽  
Cultural History ◽  
Morphological Characteristics ◽  
Psidium Guajava ◽  
Future Research ◽  
Crop Genetic Diversity ◽  
History Of ◽  
Domestication Process ◽  
Amazonian Lowlands

Guava (Psidium guajava L., Myrtaceae) is a Neotropical fruit that is widely consumed around the world. However, its evolutionary history and domestication process are unknown. Here we examine available ecological, taxonomic, genetic, archeological, and historical evidence about guava. Guava needs full sunlight, warm temperatures, and well-distributed rainfall throughout the year to grow, but tolerates drought. Zoochory and anthropochory are the main forms of dispersal. Guava’s phylogenetic relationships with other species of the genus Psidium are unclear. A group of six species that share several morphological characteristics are tentatively accepted as the Psidium guajava complex. DNA analyses are limited to the characterization of crop genetic diversity within localities and do not account for possible evolutionary and domestication scenarios. A significant amount of archeological information exists, with a greater number and older records in South America than in Mesoamerica, where there are also numerous historical records. From this information, we propose that: (1) the guava ancestor may have originated during the Middle or Late Miocene, and the savannas and semi-deciduous forests of South America formed during the Late Pleistocene would have been the most appropriate ecosystems for its growth, (2) the megafauna were important dispersers for guava, (3) dispersal by humans during the Holocene expanded guava’s geographic range, including to the southwestern Amazonian lowlands, (4) where its domestication may have started, and (5) with the European conquest of the Neotropics, accompanied by their domestic animals, new contact routes between previously remote guava populations were established. These proposals could direct future research on the evolutionary and domestication process of guava.

A missing municipalist legacy: The GLC and the changing cultural politics of Southbank Centre

Soundings ◽  
2020 ◽  
Vol 74 (74) ◽  
pp. 26-39
Author(s):  
Kathy Williams
Keyword(s):  
Public Space ◽  
Cultural History ◽  
Cultural Workers ◽  
High Profile ◽  
Neoliberal Capitalism ◽  
Wide Range ◽  
Festival Of Britain ◽  
History Of ◽  
Working Practices ◽  
Participatory Arts

This article analyses key moments in the cultural history of Southbank Centre and focuses on two important legacies, one which is widely celebrated and the other marginalised. It discusses the 1951 Festival of Britain and the ways in which this heritage permeates recent and current working practices at Southbank Centre, and compares this to the mostly silenced legacy of the policies of Ken Livingstone's GLC towards participatory arts and accessible public space. Drawing on a wide range of interviews, it argues that Livingstone's GLC's radical arts policies and high profile funding galvanised participatory arts at Southbank Centre, and the launch of the Open Foyer Policy in 1983 promoted democratic access to the site. This historical example of the potential of municipalism is mostly missing from discourses of cultural workers for Southbank Centre today. The prevailing silence on this period of municipal socialism is part of a wider silencing of alternatives to neoliberal capitalism.

scholarly journals Methodology for Documentation and Sustainability of Cultural Heritage Landscapes: The Case of the Tajos de Alhama (Granada, Spain)

2021 ◽  
Vol 13 (23) ◽  
pp. 12964
Author(s):  
María del Carmen Vílchez-Lara ◽  
Jorge Gabriel Molinero-Sánchez ◽  
Concepción Rodríguez-Moreno
Keyword(s):  
Cultural Heritage ◽  
Public Space ◽  
Cultural History ◽  
21St Century ◽  
Urban Spaces ◽  
Urban Edge ◽  
Heritage Site ◽  
History Of ◽  
The City ◽  
Industrial Economic

This research aims to start the process of the revitalization of peri-urban spaces with high landscape and cultural potential, dotted with a series of heritage landmarks that allude to the recent industrial, economic and cultural history of the region, currently semi-degraded or abandoned, as is the case with the impressive and steep miller landscape of the Tajos de Alhama de Granada. To achieve this, it is proposed to carry out a comprehensive documentation (historical, cartographic, planimetric, photographic and photogrammetric) of the study area since, until now, there were no similar research studies. The application of an organized and structured method of work, documentation and diagnosis using the tools and graphic techniques of the 21st century has offered extensive results that have been turned into a rigorous and systematic catalog. This catalog will serve as the basis for the promotion of integrated action plans for the recovery of this urban edge, with the triple objective of the rehabilitation of buildings of architectural interest, rehabilitation of the surrounding public space and consolidation of the historic complex that makes up the mills, the river, the landscape and the city. We conclude that the enhancement of the cultural heritage landscape of the Tajos and the guidelines provided for the rehabilitation of its historic water mills, with possible compatible uses (tourist, cultural or administrative), will favor the conservation and sustainable revitalization of such an exceptional heritage site.

Cultural History of Early Modern Streets—An Introduction

2008 ◽  
Vol 12 (3-4) ◽  
pp. 195-204 ◽  
Author(s):  
Riitta Laitinen ◽  
Thomas Cohen
Keyword(s):  
Early Modern ◽  
Public Space ◽  
Cultural History ◽  
Public Spaces ◽  
Public And Private ◽  
Order And Disorder ◽  
Private Spaces ◽  
History Of ◽  
And Control

AbstractThe articles in this collection deal with the early modern street—a public space that was never completely separate from other public spaces, or indeed from private spaces. This introduction presents central themes for the following six articles that explore the history of the street in various European towns. Public and private, order and disorder, and control and hierarchy are discussed, and the inextricable link between the material and the immaterial in the history of the street is emphasized.

Chinatown, Whose Chinatown? Defining America's Borders with Musical Orientalism

2004 ◽  
Vol 57 (1) ◽  
pp. 119-174 ◽  
Author(s):  
Charles Hiroshi Garrett
Keyword(s):  
Cultural History ◽  
Large Body ◽  
Turn Of The Century ◽  
Immigrant Community ◽  
Jewish American ◽  
Sheet Music ◽  
Tin Pan Alley ◽  
Racial Relations ◽  
History Of ◽  
Entertainment Products

The music of Tin Pan Alley has proven an extremely rich source for investigations of race, ethnicity, and identity in America, most clearly with respect to Jewish American identity-making and the cultural history of black/white racial relations. The existence of a large body of Asian-themed Tin Pan Alley songs suggests, however, that other important trajectories involving the construction of ethnic and racial identity have been overlooked. To illuminate the role of music in molding ideas of Asia and Asian America, this essay focuses on the song "Chinatown, My Chinatown" by lyricist William Jerome and composer Jean Schwartz, offering detailed accounts of its origin, its 1910 Broadway debut, its presentation as sheet music, and its extensive performance history. By caricaturing local Chinatowns as foreign, opium-infested districts within U.S. borders, the song exemplifies turn-of-the-century musical orientalism as it was directed toward a local immigrant community. Yet the popular standard continues to resonate today in performance, recordings, film, television, cartoons, advertising, and the latest entertainment products. To account for the song's enduring cultural impact, this essay traces its history across diverse performance contexts over the last century.

Parallel Lives: Gogol'’s Biography and Mass Readership in Late Imperial Russia

Slavic Review ◽  
1995 ◽  
Vol 54 (1) ◽  
pp. 62-79 ◽  
Author(s):  
Stephen Moeller-Sally
Keyword(s):  
Cultural History ◽  
Popular Literature ◽  
Turn Of The Century ◽  
Political Struggle ◽  
Late Imperial ◽  
Imperial Russia ◽  
Parallel Lives ◽  
The Status ◽  
History Of ◽  
Revolutionary Ideology

Our view of the cultural situation in late imperial Russia is changing. Long set aside as a distinct period in literary and cultural history, the decades embracing the turn of the twentieth century have customarily been described according to two master narratives. The first has tied developments in cultural life to the political struggle between revolution and reaction, and to the history of Russian revolutionary ideology. The second focuses on the evolution of style, recounting the transformation of realism and the concurrent emergence of decadence and modernism. Recent scholarship, however, has begun to reveal the limits of these paradigms by directing attention to fundamental changes in the institutions of Russian literature. Jeffrey Brooks has shown how the Russian reading public expanded and diversified in the wake of the Great Reforms, thus preparing the way for a broadly based popular literature governed by market forces. As technology improved in the areas of printing, transportation and communications, the potential of this new market was increasingly exploited so that by the turn of the century popular literature had risen from its origins as a virtual cottage enterprise to the status of a major industry.

Ephemeral Histories

2016 ◽  
Author(s):  
Camilo D. Trumper
Keyword(s):  
Public Space ◽  
Cultural History ◽  
Urban Politics ◽  
Public Spaces ◽  
Political Conflict ◽  
Military Coup ◽  
Political Debate ◽  
Political Citizenship ◽  
Wide Range ◽  
History Of

Ephemeral Histories: Public Art, Politics and the Struggle for the Street in Chile is a cultural history of the street in Chile during the presidency of Salvador Allende, the hemisphere’s first democratically elected Socialist president. Santiago became a contested political arena during Allende’s 1000 days in power. Residents across the political spectrum engaged in a heated battle to claim public space and challenge the terms and limits of political contest. Santiaguinos occupied public spaces in ways that appear fleeting, ephemeral, or mundane, but that challenged the sites and forms of legitimate political debate in Chile. Ephemeral Histories studies the tactics of political conflict— marches and protest, posters and murals, and documentary film and street photography—and sheds light on the contours of a public sphere of political debate rooted in urban practice. Street art, for instance, was both vehicle and window into a wider attempt to claim public spaces as a means of reimaging political citizenship. Graffiti, posters and murals might last an hour or a day before they were torn down or painted over, but they allowed a wide range of urban residents to redefine how and where politics was done and debated, and to reimagine the very mode of legitimate political debate in democracy and again in dictatorship. In fact, santiaguinos turned again to ephemeral political practices to rebuild political networks and reestablish political debate after the bloody military coup that deposed Allende on September 11, 1973. Placing urban and visual culture at the center of a story of political change over time, Ephemeral Histories traces the connections and continuities in political citizenship and practice in democracy and dictatorship. It suggests that the regime’s violence did not represent a clean rupture with the past, but a brutal engagement with the history of urban politics under Allende.

After Mozart: The Viennese piano scene in the 1790s

2008 ◽  
Vol 49 (1-2) ◽  
pp. 35-48
Author(s):  
Katalin Komlós
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
Turn Of The Century ◽  
Transitional Period ◽  
The Political ◽  
Early Nineteenth Century ◽  
Keyboard Music ◽  
History Of ◽  
History Of Europe ◽  
Aesthetic Values

The last decade of the eighteenth century was a transitional period in the political as well as the cultural history of Europe. Aesthetic values underwent far-reaching changes everywhere: the field of keyboard music and keyboard performance was no exception. In Vienna, the once legendary performances of W.A. Mozart already seemed out of date for some musicians before the turn of the century. ‘Pearly’ playing gave way to singing legato style, and the occasional use of damper pedals. Of course, the appearance of the young Beethoven made a profound effect on the Viennese piano scene. He competed with four pianists on the keyboard (Gelinek, Wölfl, Steibelt, Vogler) in the course of his first ten years in Vienna: through the contemporary descriptions of these events we can learn a great deal about the current styles of piano playing. The keyboard works of the pianist-composers of the time varied in their style and level of craftsmanship. Textures became denser, and more demanding to play. The general style approached the tone of the early nineteenth century, Schubert’s in particular. Of the younger generation, Hummel was the first who performed on Viennese stages before the end of the century. After 1800, the significant Viennese debut of three young artists, Kalkbrenner, Czerny and Moscheles, initiated a new kind of bravura in pianism, which prepared the era of the instrumental virtuosity of the nineteenth century.

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