Sandercock / Attili Multimedia Explorations in Urban Policy and Planning

Beyond the Flatlands
1. Auflage 2010
ISBN: 978-90-481-3209-6
Verlag: Springer Netherlands
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 7, 390 Seiten

Reihe: Urban and Landscape Perspectives

The book is a collection of essays exploring the potential of multimedia to enrich and transform the planning field. By multimedia the authors refer to a broad range of new information and communication technologies (from film and video to digital ethnography and the internet), which are opening up new possibilities in planning practices, processes, pedagogy and research. The authors document the ways in which these ICTs can expand the language of planning and the creativity of planners; can evoke the lived experience (the spirit, memories, desires) of our 21st century mongrel cities by engaging with stories and storytelling; and can democratise planning practices.The text is epistemologically radical, in presenting an argument for the importance of 'multiple languages' (ways of knowing) in the planning field, and making the connection between this epistemology and the almost infinite potential of Multimedia to provide varied tools to accomplish this transformation, displacing the supremacy of the rational, linear and hierarchical with more open, playful and imaginative approaches. Each of the authors brings practical experience with different forms of Multimedia use and reflects on the different potentialities offered by Multimedia for critical intervention in urban and regional issues, and the power dynamics embedded in such interventions.

Leonie Sandercock is the author of ten books, the most recent of which include Towards Cosmopolis: Planning for Multicultural Cities (1998) and Cosmopolis 2: Mongrel Cities of the 21st Century (2003). The latter book won the Paul Davidoff Award for best book awarded by the American Collegiate Schools of Planning. She also received the Dale Prize for Community Planning (2005), and the BMW Award for Intercultural Learning (2007), for her paper on 'Cosmopolitan Urbanism'. She co-authored with Giovanni Attili the book and DVD package Where Strangers become Neighbours: Integrating Immigrants in Vancouver, Canada (Springer, 2009).Giovanni Attili is an Urban Planning PHD, Research Fellow at the University of Rome (La Sapienza) and Postdoctoral Fellow at the University of British Columbia (UBC, Vancouver). He is recipient of the G.Ferraro Award for the best Urban Planning PhD Thesis in Italy in 2005. He is co-editor of the book 'Storie di Citta' (Edizioni Interculturali, 2007), author of the book 'La citta dei migranti' (Jaca Book, 2008) and co-author of the book and DVD package Where Strangers become Neighbours: Integrating Immigrants in Vancouver, Canada (Springer, 2009).

Autoren/Hrsg.

Sandercock, Leonie

Attili, Giovanni

Inhaltsverzeichnis

1;Preface: Intersecting Journeys in the Fields of Planning;6
1.1;References;13
2;Contents;14
3;Contributors;16
4;About the Authors;18
5;Introduction. Multimedia, Policy and Planning: New Tools for Urban Interventions;21
5.1;References;33
6;Part I Ethnography, Epistemology, History;35
7;1 Film Works Wonders: Analysis, History and Town Plan United in a Single Representation;36
7.1;1.1 Introduction: A Problem That Is Repeated over Time;36
7.2;1.2 The Filmed Representation of the Town Plan in the Twentieth Century;13
7.3;1.3 The 1960s: An Attempt Is Made in Italy to Make Cinema into a Town Planning Tool;42
7.4;1.4 Pasolini: Inadvertent Town Planner;45
7.5;1.5 Conclusion: Film and Propaganda/Persuasion: An Old Tool for New and Necessary Participation;46
7.6;References;48
8;2 From the Campfire to the Computer: An Epistemology of Multiplicity and the Story Turn in Planning;49
8.1;2.1 Introduction;49
8.2;2.2 Planning as Performed Story;52
8.2.1;2.2.1 Story and Process;52
8.2.1.1;2.2.1.1 Community Participation Processes;52
8.2.1.2;2.2.1.2 Mediation, Negotiation, and Conflict Resolution;53
8.2.1.3;2.2.1.3 Core Story;54
8.2.1.4;2.2.1.4 Non-verbal Stories;56
8.2.1.5;2.2.1.5 Future Stories;57
8.2.2;2.2.2 Story as Foundation, Origin, Identity;57
8.2.3;2.2.3 Story as Catalyst for Change;58
8.2.4;2.2.4 Story and Policy;59
8.2.5;2.2.5 Story as Critique and/or Explanation;62
8.3;2.3 From the Campfire to the Computer: Storytelling in a Digital Age;63
8.4;References;67
9;3 Beyond the Flatlands: Digital Ethnographies in the Planning Field;70
9.1;3.1 A Methodological Kidnapping;70
9.2;3.2 Senseless Bi-dimensional Surfaces;72
9.3;3.3 Ethnographic Polyphonies;73
9.4;3.4 Situational Ethics;75
9.5;3.5 The Power to Narrate Has to Be Framed;77
9.6;3.6 Multi-sensory Aesthetics in Digital Ethnographies;79
9.7;3.7 Poetical Gestures and Interactive Astonishment;81
9.8;3.8 Digital Ethnographies as Magnets for a Situational Planning;82
9.9;References;84
10;Part II Contemporary Practices;86
11;4 Mobilizing the Human Spirit: An Experiment in Film as Social Research, Community Engagement and Policy Dialogue;87
11.1;4.1 Introduction;87
11.2;4.2 An Emerging Paradigm;89
11.3;4.3 The Research Question;92
11.4;4.4 Research Findings;97
11.5;4.5 Stage Two: Dissemination of the Film/Research;103
11.6;4.6 Critical Reflections;107
11.7;4.7 Impact on the Local Community;110
11.8;4.8 Wider Impact;111
11.9;4.9 Epilogue;112
11.10;References;33
12;5 (Re)Presenting the Street: Video and Visual Culture in Planning;114
12.1;5.1 Picture This: Scenes from the Alley, the Region, and the Street;116
12.2;5.2 The Street on Film: That Glistening Wheel of Life;120
12.3;5.3 Video and the Production of Social Space;124
12.4;5.4 San Pablo Avenue: (Re)Presenting the Street;126
12.5;5.5 Return to the Street;131
12.6;References;131
13;6 Digital Media and the Politics of Disaster Recovery in New Orleans;133
13.1;6.1 Introduction The author would like to thank Leonie Sandercock, Geoff Coats, and Joe Hughey for their constructive reviews of earlier drafts of this chapter. All culpability for critical omissions and communicative distortions lies solely with the author. ;133
13.1.1;6.1.1 Disaster Recovery and the Digital City;136
13.2;6.2 Overview of Urban Planning in New Orleans;139
13.2.1;6.2.1 Post-disaster Planning Processes, 2005--2007;140
13.3;6.3 Citizen Activism, Neighborhood Planning, and Digital Tools for Disaster Recovery;142
13.4;6.4 Social Learning and Disaster Recovery Planning;144
13.5;6.5 UNOP and the Communicative Politics of Recovery Planning;148
13.5.1;6.5.1 UNOP Online Voting for the ''Selection'' of Planning Teams;149
13.5.2;6.5.2 UNOP Community Congress II: Participatory Planning or High-Tech Therapy?;151
13.6;6.6 Conclusion: The Recovery Will Not Be Televised (But It Has Been Digitized);153
13.7;References;154
14;7 Social Justice and Video: Imagining as a Right in Vancouvers Downtown Eastside;158
14.1;7.1 Introduction;158
14.2;7.2 Contextualizing;160
14.2.1;7.2.1 Situating Wishlist Geographically;161
14.2.2;7.2.2 Situating Wishlist Institutionally;162
14.2.3;7.2.3 A Note on Methodology;163
14.3;7.3 Living: The City and Habitation;164
14.3.1;7.3.1 Cities as Sites of Dialogue and Appropriation;164
14.3.2;7.3.2 The Right to Participation and Imagination;164
14.3.3;7.3.3 Participation, Imagination and Utopia;165
14.4;7.4 Dialoguing and Representing;165
14.4.1;7.4.1 Video and Dialogue;167
14.4.2;7.4.2 Dialogue, Style and Voice in Wishlist;167
14.5;7.5 Wishlists Production: Process, Politics and Product;169
14.5.1;7.5.1 Process;170
14.5.2;7.5.2 Politics;170
14.5.3;7.5.3 Product;171
14.6;7.6 From Dialoguing to Appropriating;172
14.6.1;7.6.1 Wishlist as Utopia;172
14.6.2;7.6.2 Wishlist: Imagining Spatial Appropriation;172
14.6.3;7.6.3 Wishlist's Vision for Inhabiting the City;173
14.6.4;7.6.4 Wishlist's Politics;173
14.7;7.7 Conclusions: Imagining as a Right;174
14.7.1;7.7.1 Applicability;174
14.7.2;7.7.2 Reception;175
14.7.3;7.7.3 Institutional Integration;176
14.7.4;7.7.4 Relevance;177
14.8;References;178
15;8 The Beginning of Something: Using Video as a Tool in Community Engagement;180
15.1;8.1 First Attempts;180
15.2;8.2 Further Experimentation;184
15.3;8.3 Final Reflections: Why Use Video in Community Engagement?;193
15.4;References;194
16;9 La Campagna che si fa Metropoli: Film as Discovery;195
16.1;9.1 Different Realities Seen from Different Points of View;198
16.2;9.2 From Local Phenomenon to Model;199
16.3;9.3 The Film and Its Ability to Interpret;200
16.4;9.4 Images and Communication;203
16.5;References;204
17;10 Representations of an Unsettled City: Hypermedial Landscapes in Rome;205
17.1;10.1 Un-settling the Scene;205
17.2;10.2 Representing Transient Humanities;207
17.3;10.3 Biographical Mapping;209
17.4;10.4 Space of Points of View;213
17.5;10.5 Deconstructing Pre-constituted Images: Medea;214
17.6;10.6 A Narrative Hypermedial Structure;216
17.7;10.7 Mohammed;219
17.8;10.8 Esquilinos Interactive and Pulsating Geographies;222
17.9;10.9 Framing the Hypermedia;230
17.10;10.10 Planning Potentialities;232
17.11;References;235
18;11 Seeing and Being Seen: The Potential of Multimedia as a Reflexive Planning Methodology;236
18.1;11.1 Introduction;236
18.2;11.2 Media for Change;237
18.3;11.3 Empowerment Through Visioning;240
18.4;11.4 Reflexivity in Practice;243
18.5;11.5 Multimedia in Planning Practice and Policy-Making;245
18.6;11.6 Conclusion;247
18.7;References;248
19;Part III Teaching with/Through Multimedia in Planning and Design;250
20;12 Participatory Design and Howard Roark: The Story of the Detroit Collaborative Design Center;251
20.1;12.1 Introduction;251
20.2;12.2 Why Participation?;252
20.3;12.3 Why or How?That Is the Question;252
20.3.1;12.3.1 Design by Committee or Collaboration?;255
20.4;12.4 Is Design Quality Compromised?;257
20.5;12.5 Can Lay People Participate Effectively?;258
20.5.1;12.5.1 Communicating Effectively;261
20.5.2;12.5.2 Drawing Out Local Knowledge;262
20.5.3;12.5.3 Avoiding Organizational Collapse;264
20.6;12.6 Does Participation Really Cost More?;265
20.7;12.7 A New Role for Schools of Planning and Design?;267
20.8;References;269
21;13 Learning as an Aesthetic Experience: Digital Pedagogies in Planning Didactics;271
21.1;13.1 Making Theory and Practice Interact: The Laboratory as the Context of the Experience;271
21.2;13.2 Taking Care of Contexts;272
21.3;13.3 Learning as a Pilgrims Journey Towards Knowledge;273
21.4;13.4 Maps to Travel;274
21.5;13.5 Toolkit;276
21.6;13.6 Travelling: Words Become Flesh;276
21.7;13.7 To Tell the Story of a Journey: Completing an Experience;278
21.8;13.8 Digital Technologies and the Pilgrims Journey;279
21.9;13.9 The Story of a Journey: The Experience of Santu Lussurgiu;280
21.10;References;288
22;14 Cinema and the ``City of the Mind'': Using Motion Picturesto Explore Human--Environment Transactionsin Planning Education;290
22.1;14.1 Introduction;290
22.2;14.2 Background;291
22.3;14.3 Environmental Psychology and Planning Knowledge;293
22.4;14.4 Hollywood Hermeneutics and Being-in-the-World;295
22.5;14.5 Begin with the Screen and Move Outward to the City;297
22.6;14.6 EBR Theory Goes to the Movies;299
22.7;14.7 Discussion;305
22.8;14.8 Conclusions;307
22.9;Films Discussed in this Paper;308
22.10;References;309
23;15 Stinging Real Four Essays on the Transformative Power of Films and Storytelling in Planning Education;312
23.1;15.1 Essay One by Anuttama Dasgupta;312
23.1.1;15.1.1 On the Road with Buddy and Philbert;312
23.1.2;15.1.2 An Ensemble Cast, an Unscripted Drama;314
23.1.3;15.1.3 Stories;316
23.1.4;15.1.4 Expecting a Window, Finding a Door;317
23.2;15.2 Essay Two by Mallory Rahe;318
23.2.1;15.2.1 Heritage;318
23.2.2;15.2.2 University;320
23.2.3;15.2.3 Home;323
23.3;15.3 Essay three by Susy Hemphill;324
23.3.1;15.3.1 What Might I Believe;324
23.3.2;15.3.2 Planning, This I Believe;326
23.3.3;15.3.3 Why Planners Need Storytelling;327
23.4;15.4 Essay Four by Andew Isserman;330
23.4.1;15.4.1 Becoming That Crazy English Teacher;331
23.4.2;15.4.2 Getting that Quality;336
23.4.3;15.4.3 Enabling One's Soul to Grow;339
23.5;References;340
24;16 Conclusions;341
24.1;References;351
25;Name Index;1
26;Subject Index;1

Leseproben

"PROOF Chapter 3 Beyond the Flatlands: Digital Ethnographies in the Planning Field (p. 39-40)

Giovanni Attili

New technologies represent a system of constraints and possibilities that constitute the foundation of new rhetorical spaces: the spheres of new communicative and persuasive procedures. Nowadays, urban planning has the chance to critically and rigorously experiment with these new spaces.

It has the chance to transgress traditional representational codes and to expand its semantic horizons. This chapter portrays one such challenging exploration: the fecund crossroads between qualitative analytical approaches and digital languages within the planning field. It is a path that embraces diverse dimensions: media and messages, analysis and rhetoric, ethics and aesthetics. A path which springs from a visionary metaphor.

3.1 A Methodological Kidnapping

In 1882, Edwin Abbott writes an imaginary novel about a bi-dimensional reality: Flatland. It is a completely level world, a vast sheet of paper in which houses, inhabitants, and trees are straight lines, triangles, polygons, and other geometric figures. Through a striking narrative, Abbott invents a place and fills it with entities characterized by abstract and linear contours. These figures move freely on a surface but without the power of rising above or sinking below it.

In this reality nobody has the perception of a third dimension. The irruption of a Sphere in Flatland provokes bewilderment in the Square-Narrator who doesn’t accept the existence of a world with another dimension. His reaction is violent: a three-dimensional world is not possible. It is a deceit. The Square tries to kill the Sphere. He wants to hand the Sphere over to justice. For its part the Sphere tries to convince the Square with an analogical reasoning, in vain.

There is no solution for the Sphere but to kidnap the Square and carry it to a higher position, separated from Flatland, from where it is possible to discern new shapes and dimensions. PROOF An unspeakable horror seized me. There was a darkness; then a dizzy, sickening sensation of sight that was not like seeing. I saw a Line that was not a Line; Space that was not Space; I was myself and not myself. When I could find voice, I shrieked aloud in agony: ‘either this is madness or this is hell!’ (Abbott 1993: 124)."