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 so thanks everyone for for coming to the

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the uses and misuses of arts and culture in community and urban development. This is part one of 2. We had a lot of interest and submissions

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to this session, so we were able to convince the Isa to give us 2 slots. And even then I think we were only able to accept about half the presentations we got. So we've kind of. We tried to group them conceptually

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between Part one and part 2, part 2. If you're interested, is on Thursday, I think, at the same time, but a different different location. and I'm your chair

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now. Patterson, Associate Professor of Sociology from the University of Calgary in in Canada. I want to just begin the session with an acknowledgment of the traditional owners of the land on which we're meeting

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the we run jury people of the Coolant Nation, and pay my respects to their elders, past, present, and emerging. I also want to say that I join you here from Calgary, which is in Treaty 7 Territory in Canada which is the traditional territories of the Blackfoot Confederacy, the Satina first nations and the stony Dakota first nations.

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So we have 4 presenters. today, each talking about cultural planning and and arts from different in different geographic areas and from different perspectives.

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And, as you can see up here we have Joining us from Brazil, Sabrina, paracho! Who is going to present the cultural dynamics and new collectivities in the port zone of Rio de Janeiro, so please join me in welcoming Sabrina. Please take it away.

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Sabrina Parracho: Thank you, Matt, and thank you, Terry, for accepting the paper and the prioritizer to be here also, not in person

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but I try to skip my time My presentation is about the cultural dynamics and new collective in the part zone of region era.

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Sabrina Parracho: I have been working this research for 10 years now. It's I hope it's closed.

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Sabrina Parracho: but I would have to acknowledge some students, but I won't be able to do it now, because there there are many

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Sabrina Parracho: in the past years.

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Sabrina Parracho: well, this research actually starts in the

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Sabrina Parracho: in 1,913 because of the urban intervention that happened in the port zone

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Sabrina Parracho: for the Olympic games in Rio, and also the World Cup in 2,014

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Sabrina Parracho: actually, the the planning of the city started much earlier in the 19 seventies. it's supposed to be a a huge intervention process based on future

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Sabrina Parracho: And in the 19 nineties, when Brazil first applied to host the the Olympic games, for it was supposed to 12 to host in 2,004.

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Sabrina Parracho: It was very much inspired by the Barcelona model, and it's it to be

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Sabrina Parracho: a cultural capital for the country. So

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Sabrina Parracho: it, it started in the center, the city of in the center of the city. and in this right on that are very colorful, and so that you know all of a sudden. But it's also extended to the port zone of real. It's the blue, light blue area above.

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Sabrina Parracho: as you can see, I believe. And it was seen as a very abundant area. And it's a supposed to have culture as a a huge thing to attract new people. It was basically in control in the creative city concept.

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Sabrina Parracho: And it's implied some museum, some museum projects for the area

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Sabrina Parracho: first. actually, it's the first project was opening a Guggenheim branch

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Sabrina Parracho: together with the application for hosting the the Olympic games in 2,004, and Rio was to some as

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Sabrina Parracho: It's a city to to have a branch from that all we have for the high foundation.

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Sabrina Parracho: it. There was a a nice project from which was supposed to be in this

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Sabrina Parracho: for some, but it was not very well received in the by the public is fair.

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it was actually a mainly because.

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Sabrina Parracho: people still wanted to protect Brazilian arts. I think that the men discourse was that there were other institutions in the market, the Brazilian art markets would be very much in impacted by this, and there was a huge huge movements to stop the building of the branch they go, and he branch, and it never came to be

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Sabrina Parracho: when When Rio finally was chosen as a host to the Olympic games. Then the port zone intervention process was a project was finally finally came to be

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Sabrina Parracho: so.

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Sabrina Parracho: New museums were protected to the area. One was the Museum of Tomorrow, which was host, which was in the same headquarters that were projected for the Guggenheim branch, actually was no one more Jean of their project, but

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Sabrina Parracho: and also

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Sabrina Parracho: a Museum of art. So new consensus work. But the social movements that we're against the foundation of the Guggenheim. We're very much pleased with a new institution for Brazilian arts.

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Sabrina Parracho: and the Museum for It was the Museum of Art in Rio was eventually founded in 2,013,

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Sabrina Parracho: but it was very much embraced by the Brazilian artists, and also browsing and architects, and the I. I was very impressed, because if there was a huge opposition in the beginning.

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Sabrina Parracho: so they we get high branch

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Sabrina Parracho: when they the museum of our to Re. Was. But everybody was to be a

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Sabrina Parracho: very, very happy for this.

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Sabrina Parracho: So when it started, it's similar that the consensus was built but

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Sabrina Parracho: actually a few months earlier. From this the critics started again.

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Sabrina Parracho: but not in the same basis that it was built against the the Gu behind, but in a new form. I think

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Sabrina Parracho: the question was that sorry it's in Portuguese new conflicts and the response of the museums. new conflicts are rose.

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Sabrina Parracho:  It was also, I have to say. a time of politic, huge political agitation. Were you specially centered in the question of the rights to the city

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and the project of intervention in real was dancing

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Sabrina Parracho: as

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Sabrina Parracho: at the core of a gentrification process. And

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Sabrina Parracho: it was really based on real estate speculation. So the artists. They were also both inside the museum and also outside protest against the institution, was really seen as a gentrification actor, and this in the area.

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Sabrina Parracho: So when when I talk about the museum, it's very impressive to say that I can't read because

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Sabrina Parracho: it's an interview with the curator. Who's who's got it so Denise, at the time. and so says that the critic was very important for sustaining a

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Sabrina Parracho: a firm, a position. A certain negotiations. It says that critique and enter the museum and the the exhibitions were much informed about the idea of the city. If you see there are, may I? I think you can read? I don't know if I should read so this counter force that comes from outside and that criticize the institution.

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Sabrina Parracho: It's often what systems in the institutional firmware position for certain negotiations. So not lowering your head to certain censorship, or by going to certain budgets for some things or talking about the importance of doing one thing or another project. Sometimes

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Sabrina Parracho: it's not because exactly of the dynamics intrinsic it to the institution, but it's because you are being held up behind your back by another pressure on you.

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Sabrina Parracho: And she was talking about the critics of the artists and other social movements that were very much. I engage in the in critique which size name the Zoom.

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Sabrina Parracho: Then many exhibitions. I won't talk about this now, but many exhibitions were

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Sabrina Parracho: incorporating the critical discourse

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Sabrina Parracho: against the Museum. This is a views work who is a Portuguese artist a collective. And this right and above is

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Sabrina Parracho: It's an exhibition from you for me as I want. I won't describe it, because I think I

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Sabrina Parracho: I have to short my time. Oh, and then, What happened is that out also outside the Museum, of course, because of the Rio States expect speculation.

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Sabrina Parracho: Men new of the buildings that were that were abundant, or were cheaper than other parts of the city, or rented by those

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Sabrina Parracho: new artists that were. Also, they were at the same time they were agents of the gentrification, of course, because they were raining for an expensive or price the

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Sabrina Parracho:  the buildings in the area, but they were also very critical to this whole process. So what I I would argue here is that this new institutional engine arrangements, collectives and the Ii spaces they were

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Sabrina Parracho: they were incorporating a critical

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Sabrina Parracho: this course in their work of art. Let me see, there are some that was, were cases, studies for the research. This is.

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Sabrina Parracho: which is a collective. It's a a collective that's in real

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Sabrina Parracho: and they were indicated to this interesting price. You know, it's you know.

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Sabrina Parracho: but they were also very critical to them, to the whole art markets, and also they to the museum as to not only the zoom, but so they intervene. Then, open intervention projects.

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Sabrina Parracho: This is

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Sabrina Parracho: This is another institution.

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Sabrina Parracho:  it's also in the region, and it

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Sabrina Parracho: It has a a whole.

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Sabrina Parracho: it's it's both an art institution. But it also is very worried about the the neighborhood and the population that leave it there before. So they they make many actions related to the to the neighborhood.

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Sabrina Parracho: This is something they made during the pandemic

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Sabrina Parracho: this, where they distributed. they give

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Sabrina Parracho: alcohol masks and things like that to the, to the neighborhood.

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Sabrina Parracho: this is a work They made the performance, and what I would like to argue here is that

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Sabrina Parracho: This is a an image from the 2,013 when the museum opened and the moments There were many protests, demonstrations against the museum in front of the museum. The museum was a chosen to be a a landmark of the

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Sabrina Parracho:  The whole problems of this city. Then there's exactly the promise of if they were protesting against. For the right of the city. The museum seemed to be exactly the opposite of it. So the museum was very much

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Sabrina Parracho: mark of this gentrification process. So this was August the 14.

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Sabrina Parracho: I'm 2,013. This is in the mount, and in the middle of the image, that there is the Creator who is follow, he and his on the right, the police on the left, the demonstrators.

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Sabrina Parracho: And and then what happened is that? Some years later. the museum was

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Sabrina Parracho:  it was there all the customers. You was through many, many problems, economic problems and political problems. So they they museum was challenged by all this, and the financing was They struggled for for a reason.

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Sabrina Parracho: and it was almost closed for a while in 2,019. What's happened is that the same artists? This is a a nice se much, I think, because shows that the same artists that were there processing in the first place, in 2,013, in 2,019 they were embracing the the museum, so it was able to incorporate the critique of this new artist. So this new collective. And it came a not only

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Sabrina Parracho: it became not. I'm not any more a symbol of this and verification, but a symbol of the the critic that we're incorporating, and and the and resistance. I think.

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so. The conclusion

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Sabrina Parracho: the article presented here so to discuss the relationship between urban police for the creation of a creative hub in regional and the tensions produced by an incorporation of On the artists on the to the process.

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Sabrina Parracho: Grizzly is sorted in universities, and he would, with extremely critical discourses. These are to have been leading new through interpretations of our disk making and of the whole of their role in the sea.

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Sabrina Parracho: as we have our goods and other occasions, and I could give it a reference. The polarization of culture produces as producers of economic capital and the agents of urban restriction, race restructuring, based on the parting, on the with paging of creative economy, has written a that has generated.

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Sabrina Parracho: If, on on one hand, then, trans of new actors into a new into new city spaces and gender identification process. The fact is that this process does not occur without real reflects reflexiveness

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Sabrina Parracho: prompted by the debates on the right of the city that have taken over us since 2,013 young artists have appropriated the port area with a deep reflection on their role. They have been playing there.

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Sabrina Parracho: The Iii's place play a da space based on collective funding and on extensive network of mutual cooperation without the support of cultural policies have the accounts, incorporates practice. They have that have been grizzling, bringing arts and politics together.

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Sabrina Parracho: I think I talked too much already.

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Sabrina Parracho: Let me stop sharing.

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Sabrina Parracho: I hope you could understand.

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Sabrina Parracho: Okay.

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yes, thank you so much for that, Sabrina. please join me in thanking

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we will. I should have mentioned, but I think we'll save Q. A. To the very end. So we are on to the the next presentation Maggie. okay from University of South Florida. And let's see.

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So we have to do

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this that should come up.

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And

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yeah, just remember to speak into the

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mike. And this is always there. Yeah, we can

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hopefully

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see.

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Okay here here.

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Oh, that's

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this is here.

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 that. Yeah, there there was like a

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that should.

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There's high.

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Yeah, there.

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that

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second.

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it's okay.

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All right.

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all right. Thank you so much for inviting me and for being here tonight.

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as you may have seen, my title of my talk has changed, and the location has changed dramatically. We are moving from Vienna to Florida.

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My co-author is not able to be here.

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all right. So I will talk about the same topics, but in a different location. And so the title is, how Street art scenes and festivals transform

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cultural cities in Florida.

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Here's a brief overview of what I would like to talk about, and a map of Florida was showing the 3 locations in which we are doing research. Currently, one is Miami.

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one so Petersburg and one's tampa

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up here.

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 and yes. So this is an overview of of the slides. This research is part of a larger international comparative case study of street art scenes and festivals.

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and the intersection with urban development and tourism in in what we call cultural cities. So these are cities that have and actively promote a reputation for arts and culture.

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So these were our 3 Florida cities. And we're also looking at Vienna, Austria, Montreal, and Canada potentially Bristol. And we're also hoping to incorporate some smaller cities. And so this afternoon I was doing a street I tour of Melbourne, and it's a really big city for street I. So if you have any

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connections or tips, I would be grateful. I think we will incorporate that as a as a smaller case study.

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And so I had originally talked a plan to talk about Vienna as a deviant case in this comparison. But I just didn't get as far as I wanted with their data analysis. And so we'll talk about Florida, where our research is a bit more complete, even though also still ongoing.

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So street art is in cities is is highly new, but in the last decade it it exploded.

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It is really striking how much it is shaping today's urban landscape. Not only do we see a lot more mals in prominent locations. We also see a lot of efforts to curate murals through public programs, festivals, events, private commissions.

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So this is a parent internationally. But In in recent years it has already It has also become obvious in Florida, which is a state that's not well known for its urban culture and cities. It is mostly known for

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beaches and steam parks, but it is undeniably a big trend in Florida

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to the extent that our State Tourism Agency is advertising a mule trail of Florida cities that includes 36 cities and communities.

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 Winwood is also a very well-known case of street art in in the United States. And so that is in Florida. So the question we are we are looking at is

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why and how urban stakeholders, public and private, have embraced street art as a way to revitalize and market their cities to tourists and to People who live and move there.

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So when we look at street art. When we look at the literature about street art many functions have all have been discussed, you know, so there is a street that obviously can serve as a form of advertising or promotion for businesses.

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A very well-known function of street art is to for community development, often against graffiti. You know, mules are used to suppress graffiti.

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and also In many cities. use street art projects and mural projects to affirm the local heritage and identity and and culture of the local of the local residents. So that is sort of a community function of street art.

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another very big function that has been documented quite well of street art is political protest.

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So here's an example of the Black Lives matter mules, one of the many, many that popped up in the Us. During the pandemic. And there's a another street at mule.

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I think it's in the Uk. Based on a famous movie, but it is a political commentary on Trump and Theresa May dancing together and

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being called liars. So so these were some well-documented functions of street art.

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but there's also some newer functions that have been less well-studied.

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One is, the use of street out for social media.

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a focused experiences. So, for in in this, in the State of Florida there is a smaller city, hain city that uses these kinds of wing mals, where people can stand in front of it and take pictures. And then that leads to a lot of social media postings. And it's a free advertising for the city. And I've also seen a couple of those today actually in

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in Melbourne. Another function that is sort of new for street art is to

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as a backdrop to so for advertising and and selling. luxury brands like especially cars. Mercedes and Vws have

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There's actually a lawsuit in Detroit going on against Mercedes, who has used street out as a backdrop to to sell, to sell for advertising, and has not gotten Authorization or compensation to the artists

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so, and but the new function that we are interested in most is sort of the but is the the use of street art as a Bohemian core tool of branding of cities and neighborhoods.

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and and a street at meals as a tool for urban revitalization and and real estate development.

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So just a couple of facts about our research itself. We are doing we are looking at online resources, tourism websites. We are doing expert interviews. We have done ethnographic field work since 2,018 actually

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We are going on the street at Tours, walking tours, biking tours, to see how how the mules are being advertised and sold to tourists.

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We are also interviewing artists and people who are in the scene organizing events of festivals. And we're also trying to do. It's like a social media analysis of of the and and the

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how it is promoted.

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And so here's a brief overview of our analysis of file. So we are looking at these 3 cities, Miami.

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Tampa, and St. Pete, actually Miami, St. Pete, and Tampa, as

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through 3 different sort of moments in time, you know, and we think there's a trajectory going on here. But these are 3 sort of snapshots of these 3 cities, and how their street art scenes are tied in with urban development.

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and we are specifically looking at Tours and the festivals, and how much the I is supported by businesses, and how much it. It is promoted by the cities and the tourism agencies themselves.

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So this is a table. That sort of sums up our research. But I will go in a bit more detail on each of these locations.

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So let me start with the emerging smallest scene in in Tampa

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which is can be seen in 2 neighborhoods downtown and seminal heights. So they have been mules since early

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2 thousands. However, there are not that many, maybe a total of 100. 5,150. But there is no official count. so my co-author and I, we were lucky to participate in the very First Street Street art tour of Tampa, which was actually a bike tour, and it was a one-off thing organized by an artist.

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It took over 3 h, and we we biked like 9 miles in the heat. It was very exhausting just to give you a sense of how it spread out. The art is, and it was very cheap, and so they have also

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trying to get a festival off the ground. There was a first time festival, the fresh fest 2,019 and 20.

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It has not continued. There was some infighting, there was lack of resources. Another group has started a rival festival, so they're still figuring out who who owns the space? How is how is this? How is tamper being put on the map as As a place for street art and and festivals.

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and

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yes, so

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at the at the for fresh pest at the festivals we organized, an artist was Spray painting T-shirts and selling them for $5, and you can see he's an artist sitting on the ground painting a mural, I mean. So it had a very much like a homemade feel to it. It was like very authentic, very local, local led local participation felt more like a like a block party.

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So just to show that

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in Tampa. This street I've seen, and its marketization is still in a in an in an early stage.

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Here's a more professional mural that was painted. For the Super bowl in 2,021 in Tampa. It shows Ray Charles, who has a history in Tampa, and also

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Tom Brady, who is a big foot football star. And so this is one of 8 mules that this city website promotes to tourists. But just to give you a sense. It's it's 8 only. And it's so. It's not that many

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so overall in Tampa. There is a low impact of street out on urban development. it's most mules are in urban areas and early stages of gentrification.

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there's very limited public funding. There's still there are very limited curriculum efforts, little advertising and branding, and there is no established festival

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on the ground. So this is different in St. Pete, just 20 or 30 miles away. Actually a smaller city than Tampa, but it one that has

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done a lot of that has been in the game much longer. The first festival again in 2,015. It has now over 500 meals, really big, large-scale work.

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And there's a wonderful website that chronicles all of these festivals. The festival is managed by a non-profit organization. So that's important.

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 and it features national local artists, but also international ideas that have some name recognition. So we participated in some walking tours.

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They were done by street artists or people who worked for the nonprofit

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and they were a little more expensive, and and the participants were somewhat half tourists, half residents in this particular location. So the festival has a very professional feel. It has a very good reputation among artists.

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 until the pandemic there was a. It had very strong business support. There was a waiting list. Businesses wanted to have a festival mural on their building. And so there was a waiting list.

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and to some people that it took too long. So they commissioned their own meals. So that leads to a lot of additional commissions.  So there's a sort of urban, cool-seen microbreweries, record shops that are 2 poppollers.

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But the artists they are hiring are increasingly professionals. They're not the graffiti. They're not graffiti artists, they are professional, trained artists, often from other other cities.

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and during the pandemic the the festival organizer told me it has been difficult again to find waltz, because now the buildings are owned by multinational corporations who don't have local. The owner used to be local, and you could talk to them and explain. Here is the murals, and this will help your business. But now the owners are corporations that are seated elsewhere, and so it's become difficult again to

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to sell the mules, but it for for a very different reason.

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So St. Pete is very advanced in using street art for city marketing and branding. It is very prominently mentioned on the on the website.

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Let's see what I forgot.

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So okay.

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the city and some local business leaders and agencies. donate money. It is a well funded festival

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in terms of develop impact on development.

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Mules are a recognized feature of the Central Avenue corridor, where there's a lot of gentrified, there's a lot of development. shine the the festival mules. They have lost 30 murals that they had painted on buildings because the buildings had been torn down for for bigger development.

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So it's sort of the first wave of the art has already is already being demolished, because the the buildings are getting bigger and it's becoming more gentrified.

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So here's a couple of pictures. You can see that it is part of the selling of these buildings. So this is a an advertising from a new building that has a pool area with a hip mural in the background. And this is a new development that's getting a mule painted on on its front.

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And so there is frequent references to the street art and by the developers when when these buildings are solved to to new people or or advertised for tourists.

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And so now let me go to the. So it's seen in Miami, in the Windwood district. Miami has probably the highest concentration of street art in all of the United States.

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It is really intense. that every block has

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many, many murals. It is not a residential district, so there was no displacement going on. It was a warehouse district, however. Idis had worked in these warehouses, and of course they have been

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displaced. So many warehouses were owned by a developer, Tony Goldman, who who allowed artists to paint mules on these buildings, and then he started opening opening up windwood walls, he called it to tourists.

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And so he is a picture of Tony Goldman, the developer who who created the Winwood Arts district, by Shepat Ferry, who is one of the biggest street artists.

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The Windwood walls is now fenced. You have to pay a ticket to see to see the art. tickets are $25. There's long lines. They say they have 3 million annual visitors. Right across the street. There is a new museum that has opened the Museum of Graffiti.

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Tickets are $20, and up

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 There is when you if you want to take a tour, there's dozens of Tours you can find most twiz are on a golf cart. They're no longer walking tours, because I guess that's is more comfortable for

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people. And so a golf. And why? What? One of our golf cart to a cost around $40. So you can see that's been more expensive. And so the street art is the selling feature of of this of this area.

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and also

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the Winwood waltz was the number 2 tourist attraction for all of Miami. It had over 9,000 Tripadvisor reviews, and it was a for a few weeks ago. It was still like Number One.

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So it is a very, very well-known attraction, and it is super commercialized and and advertised.

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and so just a couple of Field notes from our research. So my co-author Les was doing a tour with a local tour guide, and

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she noted that doing the tour golf carts pull up next to us with drivers trying to lure us on their tour.

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and so the the Tour guide says, we are already on a tour, you know we already leading these tours on a tour.

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And so that's how that's how crazy the the commercialization is. You are being led by a tour. And then other tour groups stop you on the street and want to say, Come, come with us on our tour

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so, and you can sometimes see these giant tour buses idling in empty lots, and like like 50 or 100 or 200 people walking through this area.

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And so here's a few, not from another tour. Elena. Here's a picture of Elena. Our tour. Guy tells us that she rented a very large studio in a warehouse in Winwood for $600 a month.

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but of course she had to move out. A few years later the same studio would now rent for 50,000.

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she said. There are no artists left in winboard. It's terrible for us. Apartments in the brand new appointment building cost $3,000 a month, rent or more. So there is. it is being built up as a new residential district, but at a very, very highly gentrified level.

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 I don't know why.

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Yes.

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 so

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I already said this, but so I just want to point out the middle.

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pictures. So this is a picture of a new apartment buildings. It's a it's the biggest mule in windward. You can see it from almost from downtown. It is, I think, 8 stories high.

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Let me see, 7 Storyside. It took 5 months to paint by a very famous artist, L. Mark. It shows 3 local schoolchildren.

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and the mule is finished, but the building is not so. The the meal. This the mule was the first thing the developers finished.

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and now the rest of the departure of partner building is being finished and sold to people, but the mule is already up, so you can see that the mule is the number one selling feature for this building, and it is sort of the signature

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the

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you're for. It's trying to be the biggest meal in in that whole district.

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And then there's another. I mean, this is how it looked like super shiny buildings and and street art.

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everywhere. Now I have to say the art is very high quality, I mean they they they invite the best top real artists from all around the world, and and also the. It is often very critical. And I think it's part of the appeal. So it's not that commercialization flattens out the political messages, but sometimes the political message is the thing that gets sold, you know, as a young hip sort of message to people who want to consume urban urban cool culture.

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 so yeah, I'm coming to my last 2 slides. So why do meals function as development and branding tools in Florida cities.

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Well, unlike building a museum or a big theater, it costs almost nothing, you know, just some paint and and and it's done very quickly. It's a very low barrier for cities to to to enter the mule game for tourism and and for developers to use this as a way to to sell their building. The social media feature gives you free advertising. People photograph these buildings all the time. So it gives you a lot of free

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exposure. So we think it's part of the. It's almost a perfect marriage between arts and real estate development, and

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in some ways gentrification.

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So for future. We are going to continue our research in these 3 cities and follow developments over time.

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We do think there's a continuity to it. I'm not sure it. The story has to go this way. But to find out more. We really have to draw on these international comparisons that we do.

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because in the Us. There's a certain tendon, you know, cities in Florida work the same way in terms of selling and commercializing, but in other cities what we have seen so far in Vienna especially

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that there is a very vibrant street art scene that is not being commercialized. It resists that there's a lot of resistance. There's a lot of community involvement. And so we want to understand how street art can.

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It is definitely a tool of development. But it also has this long history of resistance and of creating inclusiveness and and community. And so we want to understand under what conditions, through that becomes a tool for inclusion or exclusion alternatively. And so that's why we are trying to do this more international comparison to look at, not just local factors, but national and and sort of other factors. Urban policy is very important in this in this question.

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yeah, let me stop here. Thank you so much.

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You can know how to

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stop share.

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No, I'm not.

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I think we can. Just

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there we go. Yeah, okay.

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So

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yeah. So the next presenter is, hey, San Jong. the professor, his son Jung from the University of Cincinnati. Who's not here? But I think she pre-recorded her her presentation. And so we will go to that now and hopefully it just

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 so and then this is a session. I'm presenting my

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research. And

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okay.

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the past for decades. Oxen culture has become a major driver of

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location.

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Many industrial post-industrial cities like Philadelphia and La to payment the street art, and walls to to prevent the crime by increase the rise of the streets as changing

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of this

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cities. After they implemented most too far, they were, if they were aiming to create jobs involved in official sectors empower a sense of community and events.

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social equity and justice I'm going to.

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I'm currently in advance. His name in in the State of Ohio. In the new science study population is to increase

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1,900 fiftys

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is going to

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and over the last few years the city has gone through a traumatic list of

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homeers in downtown.

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and

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that time.

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and we also have an annual night festival called the Blink, which transforms the streets and city of thesis into

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our world. Cincinnati is enough happy, but you know

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that has also received a lot of awards.

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The meditation was found in the 1996.

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Since then

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the organization is created community base in art.

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You

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also, our forest and study has been 50,000 populated private mark projects, including more than 200 out of the world in in a great, greater and steady region, and the tactics of of Operation's Day and our 845 is in the Us. Today, another not.

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And

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so currently, there are more than 200 year olds consistent who will look through the through major and the number, and he's going, and the the the modern world to do it 6 times in 2,002

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to me in 1,920, and in 2,022 first day today with that since then

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is that the best? And if you walk around the streets, the downtown area. You see.

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the

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the parking lots and building besides.

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So this map shows the relationship between street arts, transportation and

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many

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first.

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And they're also, there's we've all the

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restaurants. They were currently done to

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also murals, feature, historian identity of the study with an at least of

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design which I will show you more

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a minute.

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So my residential questions are, what are the rapid changes of the neighborhoods that have drawn most business snake? Or is the folly of streetscape around the rules in the neighborhoods, aware of

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the artists and arts establishments, contribute to a

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number of local businesses. to an artist, and not to establish what we should do. Easy folks

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most enhanced these effects. So in this project I'm I'm doing both.

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Is any time to combine

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to find

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it's now also shows which neighborhoods we have most award rules.

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I. I extracted the The content of New York by Newman, and these are the

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There are 15 street arts. In this area over the Rhine.

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is the north of the county area, which is

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regular building, since downtown, is the second highest number of with 29. West End is by neighborhood located on the west side of the city.

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 He was locating all the

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in terms of crime. Crime has increased until 2,014. This is the in dropped

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after 2,020

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it has.

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which is

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So, in terms of violent right. He's chose to go on from 2,020 Eastern price of heel is in most Daniel's labor boats, followed by West Floyd. Every day west of Crescent, and

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so over the right is still a lot of

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I'll say to the

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however, I'll show you how it's going to help you.

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So I was also leading into the relationship between the the physical and

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the

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more planning factors, post truth network and

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your equipment.

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How a string environment is is associated with the violent crime, and one of the factors I found is the vacancy rate, as you can see in the

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area, so the island is actually more concentrated in the North East Society

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are where the buildings are mostly vacant. So, despite the reason we've had usage development by free Cpc. Which is a non-profit private burg, also working with the city of is the name. But Lorna Ryan still has an highest. The housing

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is 32%, and this vacancy rate is twice bigger than the whole city. So recently he is still trying to read, evaluated by a license in which it

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as possible

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in this area is a.

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this area.

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elements that are

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distance from the

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awards and

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easy, and this

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in terms of changes in violent time.

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and the

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including West End every day they are

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ladies.

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So in this case I am going to show you how to

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you are

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different.

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The street environment possibility.

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So the good example of

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rooms all over the, and and an example is the last. Those who have a pretty good number of peoples, however.

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Positive sign of decreasing oil and crime. There is a West that can be us. The end of our Friday has actually.

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So the first case of my study is the over the right.

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It is traditionally working-busting, new, inserted by Germany, and in the next century located in most of our town And around the time in the

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of the

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which is obviously road, and at the time it separated the area from the. So we need people.

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So in the

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one of the largest.

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To control it by street is a major

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as a

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new class for buildings. because if the market is

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this

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all right.

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early twentieth century still

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active. Also a.

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There are several stories that make

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peers

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and those

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torque. Okay, so in only 2 dozen. There, there's a target.

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And the

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since then the right is well known, for

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around the city, however, as I said. time is actually down in this area.  Because of the

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new development, and yes.

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that contributed to the safety of the.

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So I will so, and the

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changes between 2,010 and

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20 in this area, as I expected

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there wasn't an indication

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which is our future virtual space.

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and you know.

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has increased.

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is

359
00:55:35.500 --> 00:55:40.320
in 2,020. Also there.

360
00:55:40.860 --> 00:55:48.530
he's the blind and using that population also, they more higher. In Asian

361
00:55:48.770 --> 00:55:50.020
higher education.

362
00:55:50.350 --> 00:56:00.530
Presentation of the wall-pinning side claims that the Canadian increase, but percentage of transportation, public transportation and legal lines.

363
00:56:01.520 --> 00:56:02.740
See.

364
00:56:02.900 --> 00:56:05.819
and also in your

365
00:56:05.990 --> 00:56:07.010
to.

366
00:56:08.350 --> 00:56:13.129
So obviously there is a sign of.

367
00:56:13.540 --> 00:56:17.760
especially for the

368
00:56:18.040 --> 00:56:19.700
universe. And

369
00:56:20.100 --> 00:56:21.000
this is

370
00:56:22.580 --> 00:56:25.710
in

371
00:56:25.950 --> 00:56:30.719
waterline is actually the best.

372
00:56:39.670 --> 00:56:41.309
at least.

373
00:56:41.460 --> 00:56:44.939
people. Blocks like this is 77,

374
00:56:45.450 --> 00:56:46.230
okay.

375
00:56:46.660 --> 00:56:51.660
9 to 4 footage, which is a lot smaller than

376
00:56:52.030 --> 00:56:54.220
other areas.

377
00:56:56.270 --> 00:57:01.960
And the journey of also in this area is categorized by

378
00:57:02.040 --> 00:57:03.500
recognize as

379
00:57:04.560 --> 00:57:11.179
pedestrianism, which promotes more in this tree and oriented a small.

380
00:57:11.480 --> 00:57:13.779
This is

381
00:57:13.980 --> 00:57:15.790
against stations and

382
00:57:16.840 --> 00:57:18.209
large scale

383
00:57:19.130 --> 00:57:22.640
moles which actually helps me.

384
00:57:24.060 --> 00:57:29.289
And, as you can see in this table, there are behind

385
00:57:30.080 --> 00:57:36.990
communities in the restaurants, campus and bishops or galleries as well as.

386
00:57:37.270 --> 00:57:40.080
And also

387
00:57:41.890 --> 00:57:49.590
he's a part of the street station, so the accessibility to public transportation is

388
00:57:53.270 --> 00:58:04.300
so. I also compared those escapes between 2,000 2,000 to before and after they have rules.

389
00:58:04.440 --> 00:58:06.530
So after a day.

390
00:58:07.690 --> 00:58:13.160
what? They became more active in terms of the

391
00:58:13.360 --> 00:58:19.010
shops in these buildings

392
00:58:20.670 --> 00:58:24.939
this restaurants upper stories are also

393
00:58:25.030 --> 00:58:32.210
occupied for the its internal housing and also in the recept

394
00:58:32.760 --> 00:58:44.530
you can see. and they after a year they remove defense. So now you will have

395
00:58:44.710 --> 00:58:56.089
more active interaction between the world and industry. and also recently they built this little part in.

396
00:58:56.110 --> 00:58:58.330
and so

397
00:58:59.210 --> 00:59:05.269
introduced to the sustainable future street by reducing.

398
00:59:08.590 --> 00:59:21.750
This is another example of she escaped before and after all. After a day, you on this business side Front teaches, become more active and

399
00:59:21.930 --> 00:59:40.680
transparent. Obviously, we've allered, and there are more and more new businesses in this area. and, like the other example of the story, has also been occupied through the more housing units

400
00:59:40.700 --> 00:59:51.530
in similar to the annual park. That has been also set up a new run in the restaurant which helps the revitalization

401
00:59:52.330 --> 00:59:54.570
area and

402
00:59:55.300 --> 01:00:02.910
and overall the mystery. Aesthetic has been improved a lot. with this world and you

403
01:00:03.350 --> 01:00:08.160
of them. In this case they wanted to celebrate

404
01:00:09.160 --> 01:00:09.940
of

405
01:00:11.370 --> 01:00:13.750
and nations and features

406
01:00:14.400 --> 01:00:18.950
the other example which is which you have.

407
01:00:19.120 --> 01:00:20.340
please.

408
01:00:20.730 --> 01:00:21.980
while

409
01:00:22.330 --> 01:00:25.850
the areas it has a lot of rules.

410
01:00:25.940 --> 01:00:34.409
there's a request to end located, located in the west side of the town. And this is still not only

411
01:00:34.510 --> 01:00:37.029
that is, 81% out there.

412
01:00:37.380 --> 01:00:43.899
and and famously. There was a second 1. 6 years project doing

413
01:00:44.070 --> 01:00:48.150
can do a piece in the 70 s. But can you borrow me?

414
01:00:48.270 --> 01:00:51.930
And during this process

415
01:00:51.960 --> 01:00:54.060
a lot of buildings will waste.

416
01:00:54.160 --> 01:00:57.199
especially in the little or less end.

417
01:00:57.270 --> 01:01:06.459
and that area was wasn't replaced by the Prince's game. Now in the.

418
01:01:06.620 --> 01:01:16.700
you know, also being used for the sustain. But basically, Prince game is an industrial transportation area.

419
01:01:17.460 --> 01:01:20.500
Also, is

420
01:01:21.290 --> 01:01:23.430
to build

421
01:01:23.610 --> 01:01:24.760
you.

422
01:01:24.990 --> 01:01:34.939
I really, I said, why so? Basically, the neighborhood was divided into 2 parts, and in that process

423
01:01:35.070 --> 01:01:36.549
4 day 3,000.

424
01:01:36.590 --> 01:01:45.160
So this is 9,000 in your families, and the 27,000 people were based to the

425
01:01:45.350 --> 01:01:48.979
this ever area and this need

426
01:01:49.420 --> 01:01:54.649
city-built tiger stadium. And this new museum of the

427
01:02:00.970 --> 01:02:02.589
which you said was.

428
01:02:02.001 --> 01:02:21.879
okay. I think I'm gonna pause his on there, because I want to just give limit the everyone to 20 min, because we still have one more presenter. But I think, lots of interesting stuff here. And I'm sure if you wanted the full copy of this, it's either on the Isa website or you could contact Hayson directly, and I'm sure she could

429
01:02:21.980 --> 01:02:35.340
send it to you. But now we have to move on to our final presenter. Last, but certainly not least, Shaoling Lai from National Taiwan Normal University.

430
01:02:36.650 --> 01:02:41.099
Let's see, I think I first that Please welcome, chile

431
01:02:48.280 --> 01:02:51.030
to make sure

432
01:02:51.330 --> 01:02:58.199
it's me to.

433
01:03:03.960 --> 01:03:09.710
and how. But I just press the button to go down. Yeah.

434
01:03:14.780 --> 01:03:15.650
okay.

435
01:03:25.980 --> 01:03:27.810
it's the most.

436
01:03:33.300 --> 01:03:34.140
Okay.

437
01:03:57.660 --> 01:04:17.920
Okay. Good evening. Yeah. I'm trailing life on Taiwan. But I used to study and work in Uk, doing global study. So it's a kind of a project I'm working at the moment about Biennala. So it's a different from street art. But it's also related to a community. And it's a transformation tourism.

438
01:04:18.400 --> 01:04:33.770
My, my title is our Tobian, now, biennial with multiple mobile affordances emerging in the Google artistic field. This case study about Taiwan's Military Archipelago. Mad Zoom.

439
01:04:34.160 --> 01:04:35.999
You can see the photo there.

440
01:04:36.740 --> 01:04:57.500
First of all, I'll probably talking about theoretical from a a a I try to develop a concept about global biennial field doing a research about global museum field in the past. And so now is applied for artistic biennial studies.

441
01:04:57.610 --> 01:05:11.870
Venice property is the first biennial established in 1,893, and now in most of the city around the world, from 3,300, even more. They have the biennials.

442
01:05:11.870 --> 01:05:30.709
for example, the documenter in Germany, Lyon, Liverpool, Berlin, manifesto, is a kind of a mobile, noble, mobile account and nobility. Kind of a European money Vienna, Istanbul, Whitney, Sydney as the biennial.

443
01:05:30.710 --> 01:05:36.770
And so so Paulo Havana, Banjo, Taipei, Taiwan Shanghai Singapore, and so on.

444
01:05:37.640 --> 01:06:01.400
The type of a presentation upon the city is kind of a different Venice. Yeah. Now, probably kind of a like a world expo have national Havilian, presenting like a national identity in terms of art. But many other kind of binaries in the city scattered sometime in the Museum Art Gallery, but sometimes get a have different form around the world.

445
01:06:01.450 --> 01:06:13.329
and the art of binary is not only about events in the art world, but now become more kind of related to like a street art, and this one become a creative tool for many city, appealing to especially tourism.

446
01:06:13.810 --> 01:06:19.370
Art is related to reason, and have a traction in the global competition.

447
01:06:19.500 --> 01:06:44.499
But currently the Bangladesh is no longer in a city and in a large city from the Venice to Sydney, but also from appropriate by many island form for the city like a manifesto I don't research before, and some rural area as well, especially like the Japanese. Famous example of of Satochi is in the island area, and the booming kind of artistic attention

448
01:06:44.850 --> 01:06:49.470
for our rural and abandoned places become a

449
01:06:49.620 --> 01:07:05.790
kind of a tourist attraction manifesto as well as a European noble mobility. It it normally happened in a border city's controversial zone, and now become tourist destination, and Maso as well.

450
01:07:06.860 --> 01:07:16.780
I try to say something. I'm drawing upon theoretical resources from producer field theory that tools Sds, so that's what we call them. But affordance.

451
01:07:16.810 --> 01:07:36.200
This affordance related geographical form, but also social phone and kind of imagination. And another one that worked with with genre in the past is a code that multiple mobilities from migration to this kind of weather and geographical things, but also related to imagination.

452
01:07:36.830 --> 01:08:03.459
but that, taking much as an example, especially on to demonstrate 4 dimensions about the so-called mobile affordances. One is related to migration and its religious memories, and, second, is about weather and transportation, currently tourism, study and consider about weather and to reason, study a bit more. Consider about natural resources upon the culture event, and so on.

453
01:08:03.460 --> 01:08:29.479
The third one is a geological things about rocky archipelago on the sea. Another panel. There's a the developer about Antipod. Especially about Sydney Rock. So it's a geographical attempt. That's what a a drawer palm, the fourth one, probably the most interesting one and most a controversial one at the moment between China and Taiwan, about military historical heritage.

454
01:08:30.180 --> 01:08:46.980
and this kind of audience would provide a creativity base for the onsite installation and socially engaging art. A special withdrawal upon a bang. Coleman and Leery, talking about methodology, and socially engaged the art engaged in the social research.

455
01:08:47.290 --> 01:09:11.069
But since I think most of you don't know Taiwan too much, currently probably many people concerned about our and because of controversy between China and Taiwan, and this case is a military case. So I say a little bit briefly about Taiwanese history. We have the indigenous people, just like global link with Southeast Asia, even in Australia

456
01:09:11.110 --> 01:09:38.839
and Japanese colonization, just like the in Korea in 50 years. And the Chinese kind of multiple ways of migration from China, for in the late late seventeenth, eighteenth century, up to 1,949 has 2 wave, and currently have another kind of waves of migration. There are 2 China controversy about People's Republic of China, China, so called China and the Republic of China. Actually, now we call that Taiwan.

457
01:09:39.000 --> 01:10:04.129
and it's a controversy like 1970. United Nations! China. See you used to be the Republic of China, and then to people Republic of China. So it's a kind of controversy over there between Cold War 1,978. And so there's a kind of a hugely upon upon this military archipelago

458
01:10:04.580 --> 01:10:29.850
during Cold war period. There are a lot of a kind of a war between this island. There's a lot of sanction a lot of regulations surveillance about this military special zone, for example, Marshall law curfew, lighting, regulation, and all this kind of building from Baroque's military to camp tunnel, underground bomb shelters, and most of the inhabitants actually army.

459
01:10:30.170 --> 01:10:42.340
So they inference a lot of about this Bionnos and performances in 1990, S. Actually a very peaceful relationship between China and Taiwan. And I will show you the

460
01:10:42.340 --> 01:11:01.299
the map later. You see that actually, Madzu. This kind of a island is kind of border place. It's closer to China than Taiwan, so have a very different kind of imagination. It's supposed to be very patriotic because of military place, but in terms of Border city they are closer to Taiwan.

461
01:11:01.640 --> 01:11:04.120
Another one is, is

462
01:11:04.150 --> 01:11:33.829
in 1,990 is a peaceful relationship between China and Taiwan, and there's a kind of booming tourism from China to Taiwan. Most of the tourist attraction in Taiwan actually are from Chinese visitors that used to be a very peaceful time, but since 2,019, Taiwan is like China, decided to terminate the tourism between China and Taiwan. And so it stopped this commercial opportunity for this Islander.

463
01:11:33.830 --> 01:11:48.429
and that there has a a lot of come from from this Islander to Taiwan government. So the main organizer is actually related to the government is a kind of top-down instead of a button. Up there is a map

464
01:11:48.460 --> 01:12:10.320
Taiwan and China, and Matthew Island is closer, much closer to China than Taiwan, and this island actually Archipelago. They are 5 different places, different tiny island closest related to different kind of you need to transport through them by ferry and small boat, and so on.

465
01:12:10.650 --> 01:12:19.520
But apart from that, I need to talk about Matthew at the end of Taiwan. Taiwan has nearly the fifth.

466
01:12:19.520 --> 01:12:26.899
We have a long tradition of biennial since Taipei in 1,996,

467
01:12:26.900 --> 01:12:51.889
and Asia pioneer, Taiwan, biennial Green Island biennial, and this is of the Matsu one, and this is a in 2,022 is the first time they initiated try to kind of a special. During covid season. Most of people cannot travel overseas. They start to explore the domestic island as a tourist attraction that's forced to a kind of opportunity for

468
01:12:51.890 --> 01:13:06.349
this island to build attention. They used not to be the attract tourist attraction for Taiwanese people, because it's a military place. It's a boring, and it's very far away to go compared to many tourist seaside.

469
01:13:06.350 --> 01:13:22.080
but this island has some interesting seafood, and also this kind of bury wine culture. And so the thing of the first of biennial is islands. Blue is to have a lot of imagination. From the we go. That

470
01:13:22.660 --> 01:13:24.410
mobile affordances.

471
01:13:25.550 --> 01:13:32.449
I think, start to have the mobile affordances. One. It's about migration, religion.

472
01:13:32.640 --> 01:14:00.169
It's not from a module as a goddess. It's as a human being. But actually, it's a kind of much be worshipped as a goddess. It's protecting a lot of a traveling. peace over the seas, especially Taiwan Straight, many migration from China to Taiwan, or to this archipelago. They need to so surpass the sea, and with a lot of a controversial disaster. And also this kind. Between the

473
01:14:00.260 --> 01:14:13.969
this kind of Madzu has a different kind. This religion actually have different performances in China, Taiwan and Matthew Island. Compared to Taiwanese, the imagination of these goddess

474
01:14:14.090 --> 01:14:28.289
in this island they perform in a mode, bizarre way, with a lot of the rumor and different kind performances. So for Taiwanese. It's a kind of exotic experiences to see the same goddess in different forms.

475
01:14:28.520 --> 01:14:46.969
be using this artist at the bit by now, artists engaging with this kind of a people not well-known story about goddess in Mazu, because that is in Taiwan and China, and is a kind of a just, peaceful goddess. But

476
01:14:46.970 --> 01:15:14.360
in Matthew they link it with so many brutal history, especially many people. They try to have a military controversy. Many people die, and in this area, under the sea, and they have a lot of a history related to that. So the artists try to exclaim in in try to explore this story upon and have the underground cinema inside the tunnel.

477
01:15:14.760 --> 01:15:21.490
The second mobile affordances we call that the geological matters about this storm.

478
01:15:21.570 --> 01:15:36.699
not as the Australia Sandy stone story, but it's also from a very Jurassic era. It's a 1 billion years ago. It's about the Iraq and in in different island they have a different kind of form of rock

479
01:15:36.700 --> 01:16:02.730
and the rock itself, because become a kind of attraction for artists to develop. So one of the project actually just going to see this stone house and stone village instead of any other else, because the storm itself happened. You can see from something from the from the roof, and this is the tunnel in the military tunnel. You can transfer all the

480
01:16:02.790 --> 01:16:15.659
resources from military sources to human basic resources underneath. And this is also the photo I would like to show you. We call that a Matsu, and there's a kind of

481
01:16:16.080 --> 01:16:30.539
Greek Island in Taiwan. So this is Try to have this kind of imagination, romantic imagination. To create a tourist attraction. And but also there are many military tunnel still using on upon that

482
01:16:30.730 --> 01:16:55.369
the third mobile affordances, I would like to say, is about the weather current research, about tourism. They concerned more about weather, and there is some, and this might do especially because the various misty, windy and waves the transportation need to depend upon from Taiwan to Madu with the air flight. And most of the time it's cancelled

483
01:16:55.370 --> 01:17:23.060
and ferry as well, and because of the piano they have the first time the new ferry established because of the there reason. Protection! But actually most of the hospitality and hotel line. They notice that they even one most of visited. You must have booked the ticket, and you have that, and then you book the hotel, and otherwise most of the can cancel rate, for the trip is quite high per half.

484
01:17:23.150 --> 01:17:47.509
So, because you you cannot predict the weather, and if you can, you can. Even during 2,022, most of the art groups try to catch the Bionel. They are failed because the the flight, and very cancelled. So you only have one day left. You won't be able to see anything. But suppose you have the 6 days, so you stuck all the time during the airport.

485
01:17:47.510 --> 01:18:16.079
and the problem for this by now is they try to escape the mass, to reason, season to to the low season, try to enhance this kind of tourism, but they cannot fight with the to with the weather, so it bring a lot of controversy for the visit to to come planning most of their book to book. The trip has been cancelled. So this time they try to move this next panel to different

486
01:18:16.080 --> 01:18:21.749
period of time to autumn to avoid this controversy. So that's what I want to say.

487
01:18:22.240 --> 01:18:41.580
Mobile phone and so forth, is an important one for the military culture, and actually many architecture project engaging with this transformation of touristic places in the past is a kind of only military and relatively not many inhabitants.

488
01:18:41.580 --> 01:19:00.210
but during this by and now it's kind of triple time of the visitor to the inhabitants. About 30,000, and and it's a talk is of probably the most visited time for this island, and you can see that. But it's a long-term project about transformation.

489
01:19:00.340 --> 01:19:07.539
I want to say something about that. But we're talking about. It's a set you shouldn't put that in the top.

490
01:19:07.630 --> 01:19:17.880
There's a project, and in the barrack there are so many barracks, and they use this baroque as a performance place, and this project, for example, the artist Liu.

491
01:19:18.440 --> 01:19:31.990
He. He tried to demonstrate this kind of military culture during this sanction and lighting regulation. Most of the fishermen cannot fish

492
01:19:32.130 --> 01:19:57.140
under this lighting, so they they need to fish during the dark time, and the lighting house will kind of they, they, they listen to the sound of the fish. So this is the way they imagine. So this artists use 1 1,050 sandy fishes on the one. When you get into this baroque you you need to be kind of very dark.

493
01:19:57.140 --> 01:20:17.630
because the lighting is up and down. They are up and on, and let you understand the fishermen's culture during under this military control. The second one, I think, is more controversial, is a military brothel. I think it's everywhere. And in Taiwan it's a kind of secret everybody knows.

494
01:20:17.630 --> 01:20:40.579
That means, if you have. to have the military services in around 18 years old. That's probably the first time you have sex experiences. And your teacher is this sisters. So that's a hot. They transform this kind, this dark memories in these places, and as a name of the places they are special, is the most wrote, most codes of

495
01:20:40.680 --> 01:20:42.060
18,

496
01:20:42.110 --> 01:20:55.200
a. 3, 1, one, a 311 is a secret place for female. So that's a kind of play. They is a nickname for these places called 3, 8, 3, one.

497
01:20:55.280 --> 01:21:12.670
So this is all this places has been transformed. And to memorize this military culture related to sexuality. Okay, they get cool. And this is under underground secret tunnel. most. You can see that from from the second photos

498
01:21:12.850 --> 01:21:36.850
most of the tunnel secrets underneath 3 3 layers, and they have different kind of performances, and this is the proper, the only foreign artist. They have the kind of with the way flower in under the tunnel, and the other thing is talking about misty. situation. You have this landscape photo, but it's kind of in a misty way. This is what I say.

499
01:21:36.850 --> 01:21:59.389
I say that quickly, and the other. One is a song artist. These, these, these artists appropriate the top and artists from Taiwan, so that make this Bionel very attractive to art world, and they used a lot of sound memories to echo this imagination, especially slogan and complaining in this military island. And as these things

500
01:21:59.390 --> 01:22:18.590
you can see the tunnel, and people have their little London going to export the tunnel. But the funny thing is just like a border island actually underneath. You can receive the China Mobile from China and from Taiwan, and with your message. The other thing is military memories.

501
01:22:18.590 --> 01:22:33.389
Most of the god soldier. They need to stay in this area for their their their services. So there's a kind of a there are isolated places become more set, memory places for them. I could have the conclusion.

502
01:22:33.480 --> 01:22:45.090
Apart from examining the curating strategy, I suppose, to say about the mobile for affordances, this research found that some many kind of unfamiliar militar past.

503
01:22:45.130 --> 01:22:52.849
and has been surprising the artist's artistic world, and also because they, a for the middle class at lovers.

504
01:22:53.180 --> 01:23:00.590
have a targeting for fashion, magazine and kind of a cultural brand magazine instead of just

505
01:23:00.770 --> 01:23:27.470
contemporary art journal. And the second one is historical lover. And and the and it's for the Rome's spelling. actually, the local people. They live there. They don't necessarily appreciate that it that much, because for them heritage itself say it all, and art doesn't really matter to them, and especially another group of people. They have the military service memories, especially men.

506
01:23:27.900 --> 01:23:47.650
For them. It's a sad memory to need to do the military service in this military island, and contemporary artists try to say the story not really touch the really deep and the set memory of them. That's what I I found from my interview. The third one is about tourism.

507
01:23:47.650 --> 01:24:09.679
These stories These touristic places is not really very popular tourist, a place in the in the past. But suddenly, because of this event, they have 30,000 visitors from adword to these places, and they target for the middle class kind of a Bury Restaurant high-end gastronomy that's very.

508
01:24:09.680 --> 01:24:37.769
very quickly be booked out, fully booked, and the other, the other end is kind of a most popular masterism. They are kind of the eel experience of to accommodate these visitors. So the experience is that, for example, the little village, probably only one restaurant, they need to accommodate, accommodate 100 visitors in one evening. So you can imagine what happened for this kind of not yet ready to reason because of this event.

509
01:24:37.770 --> 01:24:53.500
The final one properly related to this panel is about community transformation. This is a long project going on for the architectural transformation and also military art and culture exploration from top and artists from Taiwan.

510
01:24:53.510 --> 01:25:21.779
So this is a kind of a community transformation going on at the moment because of the initiation of this first year. Art Biannell. When I did the research I was and decided to have the presentation was a bit worried because the controversy between China and Taiwan this year. But good news is, it's coming to have the second year Pioneon in September this year. So maybe fingerprints. There's a peace signal coming up.

511
01:25:21.800 --> 01:25:26.749
So, okay, okay, that's what I want to say and delivery today. Thank you very much.

512
01:25:31.110 --> 01:25:42.609
We have 23 min for any Q. A. Let me. see if Sabrina is still

513
01:25:43.090 --> 01:25:44.970
with us.

514
01:25:46.020 --> 01:25:47.850
There you are.

515
01:25:49.260 --> 01:26:00.139
and to just yeah, okay, I'll that. So yeah. Any any questions for any of our presenters. Yeah, maybe. What I'll do is.

516
01:26:03.050 --> 01:26:05.170
Hello, yeah. Okay. I'll just

517
01:26:07.370 --> 01:26:15.719
Yes, thank you for everyone for your presentations. This has been delightful. What I want to know.

518
01:26:15.770 --> 01:26:21.789
the role of local historical consciousness

519
01:26:22.090 --> 01:26:30.890
enable in the neighborhoods which includes the historical art colonies.

520
01:26:31.310 --> 01:26:37.729
and specifically in relation to the engagement with identification.

521
01:26:37.850 --> 01:26:52.129
That is, how does that local historical consciousness resist. and also but then, then, nevertheless, develops that same gentrification.

522
01:26:54.580 --> 01:27:02.769
and is that I assume that's for anyone who wants to answer. I mean, it seems relevant to, although yeah. Sabrina, do you want to

523
01:27:03.070 --> 01:27:03.920
answer?

524
01:27:04.810 --> 01:27:15.440
Sabrina Parracho: Yes, I I did not say anything about this, but this is a very important thing in the dynamics of the birthday regenerative intervention process.

525
01:27:15.520 --> 01:27:22.329
Sabrina Parracho: because the port area was also an important area for reception of slaves in Brazil.

526
01:27:22.390 --> 01:27:36.599
Sabrina Parracho: So slavery was the slavery memory was very much disputed in the region, and one of the men Questions that was brought that were brought about was exactly that the

527
01:27:37.090 --> 01:27:39.700
Sabrina Parracho: eraser. I don't know how to say it

528
01:27:39.820 --> 01:27:57.250
Sabrina Parracho: Was that the the, the, the, the the African, Brazilian memory was not being sufficiently remembered. But there are many together with all those demonstrations, there are also the They have from Brazilian movement

529
01:27:57.420 --> 01:28:12.219
Sabrina Parracho: also made many, many demonstrations, and it was eventually incorporated to the process. So there are now a sites that are specifically  arranged for visitation, and the port was restored.

530
01:28:12.430 --> 01:28:25.740
Sabrina Parracho: And they have come. Brazilian tourism became a very, very important thing for the rich, and it's also a I think it has to do with the second presentation. That is the same time it has to do with the

531
01:28:25.930 --> 01:28:33.080
Sabrina Parracho: tourism and commercialize of the memory, but also an important recognition of the area. I think.

532
01:28:35.040 --> 01:28:46.210
Thanks for that. Any of the other presenters want to talk about the historical memory. I don't shelling you kind of ended with talking about the historical

533
01:28:46.570 --> 01:28:48.450
memory and the military memory

534
01:28:50.080 --> 01:28:52.880
inflicting with the the the arts.

535
01:28:53.100 --> 01:28:58.809
I don't know if you want to add anything. if you already said what you need to say

536
01:29:03.510 --> 01:29:09.469
 Any other questions.

537
01:29:13.480 --> 01:29:30.269
So I know that it came up in the last presentation. And so something about, especially the middle class. So when we talk about a art and culture production, but at the same time, when we're talking about tourism and its consumption. So

538
01:29:30.810 --> 01:29:49.380
how are we? How do you situate the middle class within these different social cultural contexts? because the whole conceptual category of a middle class in itself is not just economic, it is social, and it's a lot of it also becomes performative.

539
01:29:49.640 --> 01:29:58.540
So how do you situate it in each of your works in order to unpack this notion of middle class?

540
01:29:58.800 --> 01:30:00.260
Thank you.

541
01:30:01.680 --> 01:30:07.900
Yeah. How is the middle class conceptualized in your in your research. Thank you.

542
01:30:09.330 --> 01:30:15.969
I can try to answer that. So in America, everybody's middle class in the Us. Nobody really

543
01:30:16.000 --> 01:30:23.079
identifies, as you know as something else. So there isn't a lot of class consciousness.

544
01:30:23.490 --> 01:30:28.540
So I think, and you said that it is more of a level of culture. So

545
01:30:29.260 --> 01:30:52.809
I think what matters is not so much economic membership or awareness or self-location, but sort of in my, in the case with street art, it's it's a desire to be part of something urban, cosmopolitan, and cool, you know. So so there's sort of a cultural desire to be an active participant in

546
01:30:52.840 --> 01:31:07.329
in the urban environment and to consume that. I mean, it's wanting to live in a city. But it's it's it's another thing for cities to sell urbanity as something as a consumer product that can be

547
01:31:07.500 --> 01:31:23.469
purchased and and commercialized and bought and advertised and and made into money because it speaks to people's sort of cultural preferences, and street art is a tool to do that. But it's also a tool to

548
01:31:23.670 --> 01:31:36.770
to resist that sort of commercialization. And that's sort of the interesting thing that draws me to street art is because it has this dual potential, and also in your presentation. You know, the art can be used to

549
01:31:37.770 --> 01:31:53.220
the artists also offer resistance. It can also be a source of resistance and a source of appropriation and alienation, and it really depends on the local conditions and the local actors.

550
01:31:53.290 --> 01:31:58.940
I mean, this is going way beyond your question. I'm sorry, but I was at least giving it a try.

551
01:32:00.650 --> 01:32:08.999
I wonder if middle class still matters. Yeah, this is a a lot of debate especially related to graded class.

552
01:32:09.010 --> 01:32:32.880
Yeah. So instead of them visiting museum for the grand exhibition. Yeah. People go to C 3 dots to to see this kind of by a nail. An alternative contemporary artist. And so it's a kind of especially echo to Sandra's. yeah. Sabrina. research about, it's a against the museum established global museum established

553
01:32:32.880 --> 01:32:53.560
instead of so middle class. Normally, go to this brand like a Google can. But now they turn into a different kind of end.

554
01:32:53.560 --> 01:33:07.690
and sometimes critical artists, and even the kind of a contem or a kind of mixed thing together to somehow. So it's transforming. So-called, we used to be the middle class.

555
01:33:07.700 --> 01:33:17.160
But this terminology has been changed. Maybe all form of cultural capital and new creative form of culture. Capital. So middle class it

556
01:33:17.440 --> 01:33:18.460
my piece

557
01:33:18.480 --> 01:33:40.540
kind of fragment itself to some extent, but I don't know in which city I don't know where you from. Maybe in some Southeast Asia they are still very eager to have this kind of a high end art, but for maybe London. They have a Brickland. They have this kind of song, art, and different kind of alternative things

558
01:33:40.540 --> 01:33:49.770
to be appreciate, to show they are more about art and younger than so-called

559
01:33:50.060 --> 01:33:58.600
 it's Sabrina. Did did you want to say anything about conceptualizing the middle class, or

560
01:33:59.090 --> 01:34:01.030
in regard to your research?

561
01:34:01.940 --> 01:34:09.900
Sabrina Parracho: Well, controversy was very uneven. It's very Nicole. So I'm not sure if we're talking about

562
01:34:09.940 --> 01:34:20.290
Sabrina Parracho: middle class or lower elites, or what exactly, is about it, because, actually, I think

563
01:34:21.080 --> 01:34:24.359
Sabrina Parracho: the 10% of Brazilian people they are

564
01:34:24.640 --> 01:34:28.849
Sabrina Parracho: and they are not. They would be considered middle class and other

565
01:34:29.150 --> 01:34:35.170
Sabrina Parracho: countries. But the on persons. Very, they are very so they they all the the

566
01:34:35.300 --> 01:34:37.460
Sabrina Parracho: most of the richness of the country.

567
01:34:37.890 --> 01:34:41.099
Sabrina Parracho: So what I think is that

568
01:34:41.410 --> 01:34:55.659
Sabrina Parracho: I'm not sure how to how to think about the middle class there. the artist would be middle class. But I'm not sure I would have to think about it to answer. Sorry

569
01:34:55.790 --> 01:35:11.329
any other questions for a presenter is, okay. Well, maybe I will sneak. Then one question one last question in that I've been thinking about as you as you've been presenting a lot of the presentations

570
01:35:11.580 --> 01:35:30.980
got at conflict and cooperation between different groups of artists, I mean, obviously, Sabrina, you you began with the big conflict between a large Arts institution and more kind of grassroots, artists. And then, with the Maggie. Your your presentation. I saw.

571
01:35:30.980 --> 01:35:45.200
you know, conflict. Have it happening between the grassroots, artists you mentioned like conflict over a competition over funding and different tour groups kind of fighting turf battles But then also you mentioned this.

572
01:35:45.320 --> 01:35:53.370
but I saw some interesting things about like artists would start selling T-shirts at these mural tours. So there's ways in which

573
01:35:53.410 --> 01:36:13.839
one group of artists is creating opportunities for for another group of artists. And they, I think we saw some evidence of also kind of cooperation from the top, the bigger top down and the bottom up. You know, there's like kind of developers working with grassroots, artists. So I just I was wondering for all the the presenters

574
01:36:13.870 --> 01:36:32.420
whether you thought about what? What are the factors? That kind of drive conflict between arts groups, whether they are at the same level or between different kind of levels, a conflict or or cooperation. I mean, what are the what are the factors that kind of determine how different art groups are going to relate to each other.

575
01:36:36.200 --> 01:36:36.980
Yes.

576
01:36:38.910 --> 01:36:49.030
so in this, in the street I'd seen, I mean street art comes from graffiti right? And and a lot of people try to separate it. But you you really cannot separate the 2, because

577
01:36:49.160 --> 01:37:03.080
a lot of the artists are started as street artists, and they use the same techniques. They use the same references. They often do both at the same time. They have a legal name and an illegal street name.

578
01:37:03.480 --> 01:37:15.369
but still there is a bit of a conflict between people who want to, between sort of nostalgic graffiti artists who want to keep things illegal, you know, and to sort of to.

579
01:37:15.380 --> 01:37:41.209
So graffiti is not really for the public. It's really for the it's a way of communication for the artists among them themselves. And there's There's a reason why you can't read the stuff. It's not for you. And so Street I is much more engaging the public, and it's much more readable, and and therefore it is much more easily exploited, you know, for for commercial reasons, but it also has much more public

580
01:37:41.210 --> 01:38:03.749
appealed. So there's this different philosophies in the scene between whether we want to keep things as they were, sort of giving, keeping that edge or making it sort of available to everybody, but also opening them inroads for commercial applications. And I just come down on very different fronts, but I think they are. So that that's

581
01:38:03.770 --> 01:38:06.639
that creates sometimes a conflict.

582
01:38:06.720 --> 01:38:15.130
But all of the artists are against being taken over being by developers. Right. So there is the fight for

583
01:38:15.444 --> 01:38:41.270
authenticity, keeping things under Control Street. That must be public. It must be free. You are not supposed to charge for it. You're not supposed to take the the stuff off the wall and sell it in a museum. So that's where they also unite, and they. And then then you have a conflict line between the artists on one end and the people who try to commercialize, who come in as outsiders and try to make money off the art.

584
01:38:41.540 --> 01:38:53.230
so that's another line of conflict. So the street art scene has several lines of of conflict, and you would have to look closely at each of these lines and find different different

585
01:38:53.530 --> 01:38:57.229
groups competing and disagreeing with each other.

586
01:38:57.940 --> 01:38:59.650
Great? Yeah, thank you.

587
01:39:02.240 --> 01:39:23.419
I wondering the odd world still exist. But actually there are some key words, because Giannell is a kind of top end of the art world, as many artists in the Mato Vienna, for example, they are the winner of presenter for the Art Museum.

588
01:39:23.420 --> 01:39:42.750
So that's the kind of thing we still have. This are the institution like a museum, gallery, award and department. And there's a kind of currently that's a curating world happening. But the different genre. For, like Banksy, the street art, there are many kinds of things.

589
01:39:42.750 --> 01:40:01.969
Some of the artists street are from Taiwan. They are kind of top and artists as well. So it's instead of just the general itself. It's a kind of fragmented, but the mechanism is still going on. For example, this kind of Yann, although it is echoed to the military island as mobile affordances.

590
01:40:01.969 --> 01:40:15.639
and try to have the tourism. But these artists, if they are not very smart, have the argumentative story to tell and use very performative form. They won't even be accepted to presenting them.

591
01:40:15.799 --> 01:40:25.949
So it's different from street often to some extent, but not all the present. Artist work has been appreciated in in longer history. I don't know.

592
01:40:26.190 --> 01:40:52.640
I think that's a kind of a another way to talking about, because I'm from the Rcs 37. Art. Yeah. So there's a kind of a discussion over this talking yesterday, talking about data and talking about the are the history name, like the abstract, and so on. So that's still going on over there. But another kind of a. So we go that creative turn for artists to. And

593
01:40:53.087 --> 01:41:07.400
it's engaging with corporate commercial capitalism. And that's a kind of everyday life, and all this kind of design, and in immersive kind of artistic field. So it's kind of transforming. But.

594
01:41:07.540 --> 01:41:16.399
for example, be an Nana. Sometimes at the very beginning. They are a lot. They are rich, founding, and very famous, influential.

595
01:41:16.549 --> 01:41:21.690
On the other hand, they are very aggressive. Try to be a vanguard and

596
01:41:22.049 --> 01:41:27.440
kind of a activist, and also with everything together.

597
01:41:27.640 --> 01:41:56.309
That's my view. But I have to. So one question for Maggie about that, because I have a supervised. Yeah. Have a student had a project for Belgium's mumoral art. Yeah. So it's an interesting talking about many straight are the mirror art like the presenter. We cannot see her. Yeah, talking about how to prevent it. But for Belgium, that's It's a kind of thing they try to have this kind of cartoon.

598
01:41:56.310 --> 01:42:07.790
They are selling that as a national icon, but it is related to the zone they are picking up, for example, in terms of tourism. Sometimes the places they

599
01:42:08.080 --> 01:42:13.310
post, this mirror and poster actually found where you were able to do.

600
01:42:15.550 --> 01:42:27.690
and also a lot of things. Why, this private building need to have this kind of post on it, a mirror, art and street art, and this kind of a government granted

601
01:42:28.230 --> 01:42:29.680
national

602
01:42:30.120 --> 01:42:31.920
art artist

603
01:42:31.980 --> 01:42:35.009
performing on this collecting team.

604
01:42:35.040 --> 01:42:44.289
this one kind of mechanism, talking about this space occupation process. I wonder how would you say something about that

605
01:42:44.620 --> 01:42:46.030
so closely?

606
01:42:46.610 --> 01:42:51.190
They have. I found cooperation.

607
01:42:51.260 --> 01:42:52.950
development engagement

608
01:42:53.040 --> 01:42:57.829
arcade, artist of engagement, for example, like a tinting case.

609
01:42:58.260 --> 01:43:00.629
it's not too intended. It's other people.

610
01:43:01.160 --> 01:43:04.030
And on people's private building.

611
01:43:04.470 --> 01:43:05.580
That's a cartoon here

612
01:43:19.650 --> 01:43:20.990
it's different.

613
01:43:23.210 --> 01:43:25.239
That is different.

614
01:43:26.290 --> 01:43:36.969
I don't know the Belgium case so, but I know from Vienna there. But there, you know, you were not supposed to do a Coca-cola advertisement that was like the Absolute. no, no, you know, as a

615
01:43:38.180 --> 01:43:52.040
and and as as far as advertising national sort of characters, they would be very, very careful. The the Viennese ideas they would do a Mickey mouse, but like with a cigar, or was a

616
01:43:52.160 --> 01:43:58.750
you know, so something that that destroys the the, the image, or or or resist the image.

617
01:44:00.880 --> 01:44:04.459
Yes, they would politicize the the, the.

618
01:44:04.520 --> 01:44:06.749
the big cartoon characters.

619
01:44:07.170 --> 01:44:18.649
And but you know. Today I went to this thing of A/C DC. Lane, and there's like this homage to the Acdc. musicians, and

620
01:44:19.460 --> 01:44:30.250
and so I'm not sure but but that's that's not a national icon. That's a revolutionary rock band. Right? So so I think that's okay. You can embrace cultural figures

621
01:44:30.400 --> 01:44:40.199
that are part of the resistance. But you wouldn't. You wouldn't embrace politicians, or I mean but I don't know. The cartoon character. Is this critical character or not?

622
01:44:41.230 --> 01:44:43.520
Yeah.

623
01:44:43.840 --> 01:45:09.319
I mean, I remember the research about thinking it's a kind of a it's a kind of kite regulation in the city. Who is it, doesn't it? You you don't supposed to distort it. The image they have certain kind of scale and pattern, and a way to put it, it's not everybody can put it so. There's a kind of a national scheme. Yeah, but at least it's not politician.

624
01:45:09.320 --> 01:45:31.409
It's a kind cartoon and representing popular culture representing one country. It's a kind of successful tourism story. So there's a a hand up on on Zoom. I can see Terry Clark, who is also one of the co-organizers of this panel, and is up late in Chicago right now. So, Terry, why don't you ask your question?

625
01:45:32.880 --> 01:45:41.990
Terry N Clark: my my question? Common overlaps with a couple of the last themes of class

626
01:45:42.200 --> 01:45:49.410
Terry N Clark: Us. Tourism conflicts and themes of conflicts among artists.

627
01:45:49.600 --> 01:45:54.390
Terry N Clark: the commercialization, and and the like.

628
01:45:54.560 --> 01:46:05.290
Terry N Clark: If we, if we look at, I I think 1 point is that many of the the answers which we've heard from the researchers in their presentations illustrate

629
01:46:05.410 --> 01:46:13.730
Terry N Clark: is, we do not hear, a simple, clear support for a board year class type.

630
01:46:13.830 --> 01:46:22.170
Terry N Clark: upper class culture versus a popular bottom lower status culture. And that that is what

631
01:46:22.270 --> 01:46:51.840
Terry N Clark: we're talking about. And that's the big theme. That is, you're all saying it's something more complicated. It's more subtle, it's more variable. It depends on the city. It depends on. So that within Florida there's even within one state within the Us. 3 different cities in Florida had 3 very different styles of establishment versus anti-establishment themes in terms of the artists, festivals and and orientations.

632
01:46:52.220 --> 01:47:02.449
Terry N Clark:  the. There's a a recent. We're continuing work to to overlapping people who've worked with the our Co. 3 is Lauront

633
01:47:02.940 --> 01:47:07.610
Terry N Clark: flurry f le you roi as a book on

634
01:47:07.670 --> 01:47:08.960
Terry N Clark: on

635
01:47:09.520 --> 01:47:35.350
Terry N Clark: a more vibrant kind of perspective, but stressing the multiple themes within, even within France and within French examples that pier board. You had had written about it, that when even when Bordeaux was doing his work on the big Institutions and the Ministry of Culture and fighting against Mal Row as the Minister of Culture.

636
01:47:36.270 --> 01:47:41.899
Terry N Clark: The the 2 most popular theater and the 2 most popular museum

637
01:47:41.920 --> 01:47:45.070
Terry N Clark: were the Were a substantial

638
01:47:45.550 --> 01:48:08.289
Terry N Clark: contradiction to to board, to use example, both of which the Tnp. Was a Communist, oriented, the director and founder and main actor was openly Communist in a Communist suburb of of downtown Paris. And and yet what he presented, and then and then second, the the the, the the

639
01:48:09.720 --> 01:48:11.390
Terry N Clark: modern art.

640
01:48:11.540 --> 01:48:16.830
Terry N Clark: our architectural the Boboorg Center. It's a so called

641
01:48:17.070 --> 01:48:24.599
Terry N Clark: both of these featured a type of art which was not a simple class, oriented

642
01:48:24.660 --> 01:48:33.169
Terry N Clark: cultural activity in the theater itself, or in the types of activities. It has a more ironic teasing

643
01:48:33.270 --> 01:48:46.479
Terry N Clark: more subtle. Take on these kinds of things than a top versus bottom but up and down kind of simple class conflict. So in that sense, I would say, there is an important

644
01:48:46.790 --> 01:48:58.689
Terry N Clark: point to be theoretically articulated, and not to say it is simple, meaningless, or we have only only case studies which are contradictions, but that what we're finding are

645
01:48:58.900 --> 01:49:12.760
Terry N Clark: meaningful, different differences for many more micro differences micro or other kinds of factors which should be incorporated into a properly formulated sociology of art and a focus on linking.

646
01:49:13.030 --> 01:49:14.830
Terry N Clark: Linking these factors.

647
01:49:14.910 --> 01:49:27.340
Terry N Clark: Max seems Jeffrey, J. A. F-r E, who is who worked in? Who's who's actually studied with 3 or 4 of the major arts groups within France.

648
01:49:27.400 --> 01:49:38.039
Terry N Clark: From board you to the major collaborator of board. You're in this early years with Jean Claude Paseron, and passed around, went to Marseille

649
01:49:38.270 --> 01:49:46.120
Terry N Clark: and Avenue. In those 2 cities in the south of France were used often as empirical examples

650
01:49:46.130 --> 01:49:49.140
Terry N Clark: to contradict the theory

651
01:49:49.220 --> 01:50:02.470
Terry N Clark: which was partially supported by parts of downtown Paris by board you. So in that sense we have. We have multiple bigger themes which have been briefly mentioned by several of your papers.

652
01:50:02.650 --> 01:50:14.210
Terry N Clark: but no one has really articulated, you know, a clear proposition, and then examples of where and why it might, it might not be supported. So I would I. I encourage all of you

653
01:50:14.300 --> 01:50:35.669
Terry N Clark: to continue the empirical work, which is terrific, but you can link it more systematically. And I I should mention, as well as a paper by Matt Patterson and a co-author, and in in Canada. And and they have written about us about where and why, and what and what local factors

654
01:50:35.800 --> 01:50:38.480
Terry N Clark: are are things which lead to

655
01:50:38.670 --> 01:50:49.839
Terry N Clark: these types of artistic activities. And so just one last reference, the the the the present president of of Clemente Navarro

656
01:50:49.960 --> 01:51:12.489
Terry N Clark: as did a study of where and how the arts fit into left or right types of political regimes in different cities, all across Europe and 20 countries. He has lots of data for many cities within each of those, and the simple point, both in that and within the Spanish Spanish

657
01:51:12.650 --> 01:51:30.880
Terry N Clark: programs of the of the left and right. The arts did not fit. So the point is, it's it's it's too simplistic both to look for high versus low, and the arts are often not something which can be classified as either left or right.

658
01:51:30.960 --> 01:51:40.119
Terry N Clark: There. There's some artists who can be on the left, others who may be on the right, others maybe neither one. And so in the in this respect.

659
01:51:40.200 --> 01:51:48.490
Terry N Clark: we have bigger things to say, and I would encourage you to try to do that rather than just saying there's conflict or disagreement

660
01:51:48.580 --> 01:52:05.609
Terry N Clark: which is to individualizing or to to to you. You you can. You can speak to things which have. There's evidence in your presentations, is what I'm saying that can speak to the bigger theories if you, if you connect to them a little more explicitly.

661
01:52:06.040 --> 01:52:19.930
Terry N Clark: But thank you for making this session as lively as it is. And I'm I'm reminding you of our co-chair, Matt, who is the active participant in exactly these these kinds of these things as well.

662
01:52:20.740 --> 01:52:34.639
Sabrina Parracho: Thank you, Gary, I just would like to answer, because I couldn't do it just 1 min more. Yes, one thing that I was thinking about about what Terry said, and the question he made is that the man

663
01:52:34.680 --> 01:52:53.699
Sabrina Parracho: core of the this research is that the autonomous of the field is being challenged by those conflicts, I think, especially because of the the creative economy that android into politics. The autonom of the fields is no longer a.

664
01:52:54.190 --> 01:53:15.889
Sabrina Parracho: It's no longer enough to think about the the, the art field. So the conflict is being incorporated into the the the art world, and also being informing the art, the art form. So the art form is being changed. But politics and learning about the the boundaries between the art field and other

665
01:53:15.890 --> 01:53:26.049
Sabrina Parracho: to other fields, and the politic field is especially not that it's left to all right. And this is not the point, but the the fields being blurred by this.

666
01:53:26.090 --> 01:53:29.140
Sabrina Parracho: So Just as I would like to say. Sorry.

667
01:53:30.010 --> 01:53:47.310
Yes, I no, thank you for for responding to that. I saw lots of nodding heads when we talked about the kind of need to move past Borgia and the complexity, but also the need to kind of create a new theory to capture this complexity. so maybe that's a good

668
01:53:47.350 --> 01:54:01.200
and note or a last note to to end on. So once again, thank you to our 4 presenters for being here, and to the audience for coming, including those who stayed up late and got up early