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Hello! Here we are we welcome to place and the sociology of art? The last panel for our research committee? 37. And I want to mention right away that we will have the business meeting right after this session. So please stay whether you're here or whether you're remote. can you put it to

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to that

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I want to quickly acknowledge this is something about place, and I would want to now acknowledge the place of country on behalf of everybody gathered here.

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We want to pay respect to the spirit of country here in arm where we are meeting.

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I acknowledged the past and present Kulu nation. Warren, did you, re-warring as the sovereign people. Here the cultural knowledge holders who maintain and promote norm aboriginal law, customs and custodianship, responsibilities for country and the people that country continues to sustain generation after generation

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into the future. For all of us

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I recognize the important contribution that first nations, thinkers have made to sociology, including challenges to our dominant ways of thinking.

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We thank all first nation delegates in the room

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for their contributions, and at the conference for their contributions to the knowledge of the discipline of the social sciences.

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Thank you to the next. Okay, so we're going to start right away with the first

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the our first

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speaker, who is Laura Harris from the University of Southampton, the Uk. Who will speak on curating windows, creating cultures, a place-based analysis.

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a new curatorial trend

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before she begins. I must say that we have 6 presenters, so everybody has barely 15 min, just about 15 min. So and I will give you a 5 min notice. But please try to keep on track of the time. So Laura.

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Laura Harris: Hi, yes.

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great. Okay.

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Laura Harris: right?

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Laura Harris: I'm just gonna share my screen. And hopefully.

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Laura Harris: you can all see that fine

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Laura Harris: cool. So yeah, thank you very much. I'm based at the University of Southampton. I wish I could be in the room with you for the well between us, I'm afraid.

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Laura Harris: So in this presentation, what I'm going to do is investigate the relationship between the built environment, local contexts and

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Laura Harris: meaning making at cultural institutions. I'm going to do that by focusing on art gallery windows, which I'm quite obsessed with.

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Laura Harris: and a slight divergence from my abstract I'm going to take 2 case studies. One of them is a commissioned work, a visual art in Edinburgh. and the other one is a high profile court place, and involving, take modern.

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Laura Harris: But first, a few introductory remarks about our calorie windows.

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Laura Harris: So windows in general mediate private and public spaces. They're about the separation of zones, meaning and built environment. And they're about to control. Or, as I like to think of the curation of site and being seen

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Laura Harris: and materially and symbolically part of the separation of space, and they contribute, therefore, to how those places that they produce are invested with meaning.

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Laura Harris: You could think of them as being what cools a fine line.

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Laura Harris: and he writes that in order to end out of things, we perceive with meeting, we must carve out of the world mental chunks that we then treat as if they were discreet, and we delineate between those chunks of meeting with so called find lines.

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Laura Harris: So windows are one such fine line that distributes meaning and the attached and social practices.

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Laura Harris: And in place sometimes this fine line does a great deal of heavy lifting.

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Laura Harris: like the fine line between the sacred and the same Christian architecture created by same class windows since eleventh century Paris art galleries also depend very much on the separation of Zoom Meeting, and that makes a window critical

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Laura Harris: in parallel to the dominance of glass. In the contemporary city.

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Laura Harris: awesome windows have become a real trend in our gallery architecture. I'm speaking here from a Uk. And European perspective.

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Laura Harris: classy and glossy architecture, that sort of wraps around the whole city also helps out going in their desire to market themselves, and to fit into the design language, and the effective space of certain parts of the city.

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Laura Harris: usually more up market neighborhoods.

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Laura Harris: and I mean this on a very surface level in best way on a textural level.

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Laura Harris: The class itself doing this heavy symbolic lifting but also creating these aesthetic and effective experiences.

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Laura Harris: So on the bottom left, you will see a mockup of an art gallery redesign in Italy.

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Laura Harris: by an architecture firm, called the Ap. And you can see how important windows are here to how they imagine what their space will see and feel like

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Laura Harris: these windows contribute to this sense of the cultured or convivial cosmopolitanism, and that's epitomized here, not only by the windows, but by the ground piano.

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Laura Harris: This is all part of the for what is called open art gallery architecture. which is seen as a way of associating the art gallery with its surroundings

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Laura Harris: by virtue of breaking down parries of access to art galleries. And that's all very rudimentary level. The idea is that by using class heavily in the architecture. The gallery becomes open, literally and figuratively, to the local community.

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Laura Harris: It's seen, as this democratic move, to literally open up the gallery space. However, as we'll see just because the windows are transparent, doesn't necessarily make your calories open.

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Laura Harris: So in order to capitalize on their new windows. a new curatorial trend, I think, has arrived

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Laura Harris: curators rather than motive, well, being motivated by some personal conviction as well as in the Uk. Setting a quite heavy policy stipulation to increase visit to numbers.

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Laura Harris: and this is aiming in any way possible to make the artworks and more accessible and more meaningful to more people. One way they've been doing. This is by soliciting artwork that are made directly

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Laura Harris: on the window.

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Laura Harris: The idea here drawing on what I've said before is to to dissolve this fine line between the art gallery and the neighboring street in terms of their significance.

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Laura Harris: The idea is that the window stops operating the barrier between Zoom Meeting, and rather becomes a platform on which these 2 spaces can be brought together

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Laura Harris: in the lockdown era. This curatorial trend seemed to explode.

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Laura Harris: but also to be taken outside institutionalized context. And we saw people using that windows display settings for that creat empty as a point connection and a way of associating themselves with that with their neighbors at a time when we couldn't otherwise, so windows up this function then, and galleries also to cut the

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Laura Harris: their windows.

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Laura Harris: This was useful because it was cope with secure, and they are galleries carried on this after lockdown has ended.

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Laura Harris: So one post lockdown example of this curatorial trend. Here's a commission by the Fruit Market Gallery in Edinburgh, by an artist from Carla Black.

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Laura Harris: He was invited to make a work about directly on the street, facing windows which were part of the gallery redesign. They expanded the gallery, and they featured these new windows that pictured here

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Laura Harris: the work was called Fences Captain, involve these brown brownish marks smeared on the window and with paint. And

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Laura Harris: so the question that arises as to

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Laura Harris: how the public of the outside of the city street engaged with this work? What extent does this curatorial trend collapse meaningful distinctions between spaces? To what extent does it actually reinforce them.

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Laura Harris: and I think that it's telling here, or a clue, maybe, that the press in which this work that you're looking at here features an empty street.

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Laura Harris: This is because I think it's only when the street is empty

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Laura Harris: and the pretense that the window has become a of connection, the upheld

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Laura Harris: in practice.

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Laura Harris: that it. It was highly unlikely passes by engage with these monkey marks as art per se, or at least it's unlikely, or, in fact, almost impossible, but they did so from within the curatorial framework that made the work meaningful according to the gallery from the inside.

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Laura Harris: The curatorial idea that it's behind these windows is that the gallery can extend its public reach if it re imagine it's windows as place of connection, but that all depends on imagining the public as a kind of amorphous lump of generic people.

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Laura Harris: But instead, if we understand public specifically, art conflicts as being groups invested in shared meanings or projects of making things meaningful.

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Laura Harris: It becomes questionable to suggest that just because the artwork is viewable from different places.

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Laura Harris: those different places immediately become one or public. and that the window as a site

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Laura Harris: of material and symbolic connection

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Laura Harris: is inconsequential.

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Laura Harris: So if the gallery also has miraculously dissolved, it's it's the window as a barrier. The question also rises to what is being let in.

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Laura Harris: Does the art gallery want the city street to meaning? We penetrate into the gallery?

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Laura Harris: Presumably not all, presumably not in an on sort of police way, saying, as a call function of the gallery is to establish itself as a unique so of meaning.

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Laura Harris: In other words, I think these examples show. This example shows meaning is meant to flow outwards.

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Laura Harris: So here we are back again at the idea of a one directionality, windows being highly

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Laura Harris: and contestable.

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Laura Harris: So I'm gonna draw on one more example in the time that remains to me, which is slightly different from this curatorial trend, but still speaks to the

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Laura Harris: context right around our index.

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Laura Harris: This is Tate, modern and you might be familiar with this case. It's quite high profile here in Uk.

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Laura Harris: This is, take more than on the left. This is, it's

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Laura Harris: new development that open in 2,016. And on the right here is a block of luxury apartments. It's it on London South Bank.

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Laura Harris: The construction, which was finished in 2,012 previous to take

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Laura Harris: extension opening the owners of these facts were afforded the luxury of privacy within a densely populated city, while also being hoarded wonderful views. they were also best benefiting from the value boosting nature of the

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Laura Harris: however, Tate opened up this new viewing platform. Here.

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Laura Harris: this platform K direct views on to the onto the into the apartments actually, and the viewing platform became a phenomenon on the opening of the gallery, with right apps of the extension, dedicating quite a few column in the experience of looking into these homes.

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Laura Harris: So pictures of the butt's interiors for for it on social media.

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Laura Harris: and particularly because it's happening in our context. A lot of this discussion is around performance art. And the way that we could think about looking into these people's homes is being similar to some practices within performance. Art

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Laura Harris: as a result for the flat owners to take to court claiming invasion of privacy.

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Laura Harris: the lawyer on their behalf said, it's not difficult to imagine how oppressive living in such circumstances would feel for any ordinary person

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Laura Harris: much like being on display in a zoom.

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Laura Harris: So one ruling went against the residents, and the Judge ordered them, or suggested that they might want to get.

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Laura Harris: But then it went to the Supreme Court, and the Supreme Court ruled in favor of the residents. Determining that they face constant visual intrusion, they interfered with the ordinary use and enjoyment of their properties.

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Laura Harris: So this had the effect in the Uk of setting precedent for the law of privacy laws to include overlooking in extreme cases.

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Laura Harris: And that's it. That's deeply consequential for for our right.

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Laura Harris: So now I want to suggest. What is this constant visual intrusion that the residents are exposed to other than the effect of 2 directionality windows?

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Laura Harris: So this case sort of talks about civil and attention in the city, and how that's being applied here on the viewing platform of an art gallery.

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Laura Harris: going into questions about the right footprint that the art gallery can claim with regard to its public. So in the first example, we saw the art gallery willfully claiming this additional space. It's additional meaningful space.

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Laura Harris: But here the art gallery was forced into a position where they had to claim an illegal setting.

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Laura Harris: that they did not make a stick on the meaning of their neighbors. They did not make a sake on what could be seen through their windows, and that the the public to which they

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Laura Harris: that made up their constituents, in fact, ended at the edge of the platform. It didn't take on more visual space.

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Laura Harris: so the case here really hinged on this idea of privacy and windows at of the home, but also the sort of constituent, the meaningful constituency of the gallery, and how that is adjudicated and mediated by windows.

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Laura Harris: What I find interesting about this also is that the residents were, in fact, secluded before for the 4 years before Tay opened his viewing platform. But as the city rose up.

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Laura Harris: this issue of how we train space will clean, meaningful space has risen up as developments have sort of raised each other into the sky.

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Laura Harris: so it's sorry one. Sec.

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Laura Harris: So, yes, exactly so. I've spoken about how art galleries are embracing this open architecture, and through that

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Laura Harris: deliberately trying to change how they imagine their relationship to their surrounding areas.

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Laura Harris: In the case of the fruit market. The first example, although I think this might have a sort of doubtable level of success. It doesn't really have any moral consequences.

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Laura Harris: But this take case shows up our calories, re imagining that public outwards will need counter claims about local meetings, and this will inevitably happen through windows.

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Laura Harris: This presentation that's been part of ongoing project. The art galleries and windows, which I'm in the very, very early stages, and so gathering ideas.

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Laura Harris: And so this talk, with kind of frame is more of a provocation than as a formal analysis.

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Laura Harris: So I want to, just with the idea that when it comes to thinking about the relationship between visual art cameras and the hyperlocal contacts. A lot can be seen by looking and thinking about windows.

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Laura Harris: Thank you.

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Thank you.

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Thank you, Laura.

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and we now turn to our next

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talk Anna Gonzalez from the Institute of University of the Lisbon, Dejmoa.

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Korea, Portugal, and her talk is oops to be entitled Placing Cultural heritage and inheritance into the alley. So we have the window and the alley.

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Okay. that is also removed.

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Ana Gonçalves: hello! Good evening for those who are in Melbourne, and good morning, and good afternoon. If you are online from other parts of the globe.

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Ana Gonçalves: I will. I am doing this presentation from Lisbon, Portugal, where the day is just just starting.

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Ana Gonçalves: So this presentation focuses on the ground level and lived experience of cultural heritage. In particular, it explores how small scale and locally based events may serve as to deepen bonds of intimacy and ensure the international intergeneration.

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Ana Gonçalves: All transmission of expressive forms of culture, and this is particularly important because we are. We're striking here the analyses to a single events to a greater or lesser extent, bound up with the social, musical worlds of fathom fado. We's, by the way, a popular herb in music, 2

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Ana Gonçalves: mit Ctl. And wish was developed in Lisbon throughout the second quarter of the nineteenth century and in more recent years, and the this musical form, as experienced revival and obtain a wide wishing recognition that crossed the national borders. 150

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Ana Gonçalves: partially due to its include inclusion in the world music global secrets and as record markets, but also on the United Nations. Educational, Scientific and Cultural Organization representative list of intangible cultural heritage.

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Ana Gonçalves: in other words, over almost 2 centuries. Fado became a a cultural marker of the city of this one and the country. It is the capital cost.

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Ana Gonçalves: as you can see at this presentation, is divided into 3 parts, the first one presents the place, the second one pays attention to the event itself, and the finally the third one focus is on the issue of heritage within these events.

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Ana Gonçalves: Who is a discrete ha! Alley located on the slope of Santana yel with the panoramic view over valid, to which runs, if need to deliver. That's the main streets of this, and it is flanked by a 11 is made attached

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Ana Gonçalves: erez Agmoni, single-story homes, with their doors and windows facing each other. The street is integrated into an original working-class villa.

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Ana Gonçalves: located in the vicinity of a former minor palace and the textile manufacturer of the late nineteenth century. this designated village are multi-family constructions privately built in the close 2

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Ana Gonçalves: closing decades of the nineteenth century to overcome housing needs in the city for the less advantage. Strata of the least one population, especially the working class, and most of them were located on empty plots of land. within the blocks or in the immediate surroundings of factories.

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Ana Gonçalves: they generally, contain a compact type of files terrace, and reached along with narrow heli with access to the public condition by an iron gate and get more placards, identifying the name of the Villa

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Ana Gonçalves: to the first of of the twentieth century. the houses on which, you know, we're given over the housing factory workers. Nevertheless, within a few decades, the local community has undergone notable changes, and the working households at progressively left the area, and as

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Ana Gonçalves: they were replaced by tenants with greater economic, social and cultural capitals, including professionals from the hard sectors who value living in the historical and central zones of the city, and more recently, the high level of external activities

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Ana Gonçalves: of this residential area which comprised the villa, the palace, as they the industrial buildings, and is interlinked with the advent of mass terrorisms and a new wave of gentrification facilitated by new Liberal inspires urban policies. on the inside of these laboring areas.

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Ana Gonçalves: Who is what I use today as gentrified her. But in place

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Ana Gonçalves: among the current residents on the streets are relatives of Amali Hodrich, recognized as the most important Portuguese singer of the last century, and the iconic voice of the fado musical genre.

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Ana Gonçalves: One of the houses is in inhabited by the family of the or great great great nephew, the oval of silver, and C. Them at the back to our producer, who, among other works as directed various musical, the Commentaries mostly about Fathom.

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Ana Gonçalves: so the only shook in the encapsulates is zone of conflicts for the families leaving there the festive phenomenon of these 3 stems. From this the original pretext for this now Hanwell party was a football.

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Ana Gonçalves: and in 2,006 the Men's Fifa World Cup took place, a competition. We wish Portugal finish in fourth place, and inside the villa. The goal celebrations will often spill out 250

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Ana Gonçalves: on to the streets and given the general level of excitement. The who is what in the residents began began watching the televised coverage of the events in the very straight.

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Ana Gonçalves: This led to an outdoor gathering among families which included a shared meal improvised with food and beverage brought by hitch household and interest spurs with moments of live music performance.

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Ana Gonçalves: The musicians were recruited among the family members, of residents, and based on their personal ties of professional to the professional world of Fado. In this. It was the oak, but I was Silva, who, as he's grandmother, the father's singer. So that's good, rich, siest sister of Amali, who dre to join in and perform.

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Ana Gonçalves: They also brought together all the following musicians picked up among the available professionals from their network of contacts.

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Ana Gonçalves: So the street party we can't began. Has a spontaneous social happening We only later turn into an adult and we get together among team labor's friends and peers, accompanied by a sociable meal and live photo performance from sundown to sunrise. This form of celebration displays characteristic features of

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Ana Gonçalves: popular urban festivities that sprout up all over the city in June, even while clustering, and more in the halleys, small squares, flights of stairs, and churchyards located in this one

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Ana Gonçalves: neighborhoods.

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Ana Gonçalves: Following this common popular tradition in readiness for the party. the street gets decorated high above the neighbors hang garments and butting when colorful flags running between the and this does not happen without some work during the preceding days.

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Ana Gonçalves: the same go for the cooking of communal meal each house contributes with its own culinary speciality. The issues are brought to the table after their preparation by the host families and potentially looting to a regional culture or a a a particular family identity

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Ana Gonçalves: generally. There is no a shortage of a sure cold grilled s things one of the most traditional, a full Portuguese dishes. indeed, the strong smell of sardine's grilling on the barbecue. is a strong sign that the party is approaching. prepare, according to the logic of differentiation, and with security

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Ana Gonçalves: among families. The dishes ensure a very well labeled light intel a table. So they change of foods and and and sharing the food and green play a crucial role in fostering social media. Several

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Ana Gonçalves: a favorable to the conversation and social interaction which lasts many hours.

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Ana Gonçalves: The party is held on the doorsteps in clear articulation between the interior of homes and the main hexes of the local social life, the Heli effectively, the corridor of circulation used exclusively by a residents and their visitors, which does, makes it a sort of home territory.

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Ana Gonçalves: where we whereby the activities experience the relative level of relaxation and a sense of intimacy, and over wish they hold some kind of control.

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Ana Gonçalves: The the doral 2 houses remain open or are, and not so much as a gesture of hospitality, but rather for reasons of logistics for the party between their homes and the streets the house continually. They can bring tables, shares, and other types of implements, as well as food and drinks at to the point.

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Ana Gonçalves: so they, intense socially, could connect to this occurs in the outdoor zones, where the physical closeness of the party goers and and the face to face interactions between them may feel a mean, meaningful, and incubate setting

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Ana Gonçalves: right from the start. The Hudriggs family has been in charge of the main cultural fraction of this party, Fado. Until recently these meant that temporarily. the Yog burial is still. This family circle consisting of itself, is by threes, and they're since

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Ana Gonçalves: his grandmother's West could reach who lived nearby outside the villa, was a frequent at the at party nights to to where there in 2,018, at the age of 19 5,

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Ana Gonçalves: 95, and therefore the local party also motivated family of unions. The simple Co. Presence of various generations will meet up to spend some

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Ana Gonçalves: good time together in itself is notable. At the same time the party enables members of the family group to affirm their sense of belonging strengthening or complicating and displaying the relational bonds that mutually interconnect each other

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Ana Gonçalves: at as these share experience experience is taken on effective meeting. They may, be especially significant for each one of them, and as a as such, gain a greater chance of becoming part of the family stories that these have to be told to others.

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Ana Gonçalves: Some years ago, when I interview this family flesh could reach. I like it. The importance of the who is working at party on the musical and cultivation of our great friends, and

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Ana Gonçalves: born into a new family in which music was so very present. The spar discover it it early in his childhood, The memories raised by his great grandmother's last in the interview reveal how we became absorbed by any exposure to music, and embarking on a relationship

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Ana Gonçalves: with the particular musical instruments closely connected to Fado. The Portuguese guitar as far as theimatic gesture of the port of a musical performance, doing the and did not go go unnoticed

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Ana Gonçalves: the family and surrounding community. Witness. the spars, repeated imitation and label these intuitively as a marker of musical potential, perhaps even innate, as less likely to suggest in the interview, and most probably such 5 min.

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Ana Gonçalves: Thank you. Thank you.

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Ana Gonçalves: Most probably such a ludic hack will not, have done without symbolic reward or encouragement over the following years, the who is what in a party, will be included among a variety of opportunities for the music

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Ana Gonçalves: explaining of this part readily, the spar will fully develop endemic notions of musicality. All the kids skills ability to memorize repertoire dexterity in the technical gestures and social Z. These innovation.

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Ana Gonçalves: Further, each year the the family will draw on their own networks in the local music scenes to contact and recruit other music performers for the party. These relational family resources. reflect the form of social capital interconnected with the reputation, the reputation and reputation that they hold within the micro customs of Fado.

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Ana Gonçalves: If it's the what in the party constitutes a relational setting that annually brings together a selective group of from this durable network ties of the residents where persons nurture mutual recognition and create resources through social relations and sociability, it is possible and even likely.

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Ana Gonçalves: that's social connections, unlocked potential opportunities for creative cooperation between the attendees. but the both of all the event remains an intimated fire affair where many of the people involved experience. The process of familiarity, and cultivate to a large, large extent family like connections with each other.

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Ana Gonçalves: The who was working a party, after all, as over time developed these quasi family nature.

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Ana Gonçalves: Hence, at this event, such as the who is working the party very much remains an important context for interaction and induction within the family sphere, and it's most immediate and well event connections among them proximate neighbors, intimate friends, close working or leisure partners with whom family, like relationships, are often shaped

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Ana Gonçalves: in a focusing on the local community and their internal celebrations. This presentation as thoughts to explore the vital role that music to forms, to create sense senses of connectedness and communality, and our people integrated with it

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Ana Gonçalves: erez agmoni also emphasize is the importance of to of paying it due attention to events where music is central to the extent these C slides on the forums of integration into communities of musical practices, 250

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Ana Gonçalves: processes of informal socialization and social recognition. The exploration of the next was between a pari such as the this one on the and and the social circle surrounding the family, such as Rudriguez. Well, it was some such processes made in did occur. Thank you.

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Thanks very much for that intervention

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 Our next talk is Katrina Sandbach from Western Sydney Australia University.

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Speaking about Western Sydney re-imagined.

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Hi, everyone out first. I'd like to pay my respect to the traditional owners, elders, and spirits of the culmination. I've travelled here today well, earlier in the week from the unseeded lands of the Darrigan Gundantra peoples in the beautiful Blue Mountains at the edge of Western Sydney, which is the place at the center of my presentation.

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so shown in yellow on screen. Western Sydney is a vast region to the west of Metropolitan Sydney, shown in Pink.

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It's a place of significant aboriginal history and heritage, and the areas that constitute Western Sydney are situated across the traditional lands of the Dakinjung, d'arag, Darwal, Gondangra, and Eora peoples, Western Sydney's home to Australia's second oldest city, Parramatta, which was founded the same year as Sydney Cove in 1788.

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It's massive and encompasses a total land area of approximately 9,000 square kilometres, which is roughly the same size as New York, or 1.3 times the size of Tokyo, the world's top, 2 largest cities. It includes national parkland.

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agricultural land and waterways, as well as commercial, rural, and suburban and urban locals, comprising 392 suburbs, towns and villages within 13 local government areas.

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It's home to more than 2.5 million people in growing, 35% of whom were born overseas coming from more than 170 countries, and speaking over 100 different languages. Following Melbourne and Sydney, a Western Sydney is now Australia's third largest economy in the key growth area with new houses, jobs, and major infrastructure projects in progress, including a new national international airport.

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This strand of my research began about 10 years ago as a small exercise to galvanize a sense of place in my students who were budding designers and creative practitioners of all kinds, to show them that they had a place alongside other creatives in Western Sydney, and could look closer to home for job opportunities or even create their own.

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As this research evolved, it became fueled by 4 key factors.

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Early maps of Western Sydney are problematic.

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In 1,848, the county of Cumberland, planning scheme sought to coordinate Sydney's planning and growth and its documents extensively used. Visual material, such as maps, aerial photographs, and illustrations to explain the scheme's proposals identify the region and promote the need for the urban development of Sydney westward to stakeholders and potential residents.

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Cultural historian, Leslie Johnston explored the role of planning documents in shaping the way in which people imagine or visualise place, and propose that this material, profoundly shaped, how people viewed the area that would become Western Sydney

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on the surface. The map on the left appears to simply depict the county's plan. Using a geographically accurate map. However, the area to the west of Sydney is treated as one homogenous rural area in tan, while the rest of Sydney is represented as living areas in pink with a lush green belt that would contain the sprawl of urban growth by dividing the West from the rest of Sydney.

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This map gives the impression that the West was a wild and uninhabited landscape that needed to be contained away from civilization in the East.

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On the contrary, by this day there are well-established villages and towns in the West centred on major industries, such as agriculture, quarrying, and timber milling, that fueled Sydney's growth.

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The county often also used illustrations to bring their plans, key ideas to life, namely, to promote the benefits of a future life in the outer areas, such as you and the county plan shown on the right.

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In this image a strapping town planner is holding a blueprint while standing astride an oversized town plan containing an orderly and leafy new suburban estate that has seemingly come to life partially covering the grimy city scene in the background. The use of scale, color, and placement of type to frame the image encourages the viewer to see themselves within the Cumberland Plan's vision.

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like the majority of images of Western Sydney, produced at the time both of these images, we see the region from high above, reducing the knowledge of the place to a totalising perspective, effectively operating as a way of seeing from a superior position, and establishing a pattern of representation that constructed the West as a homogeneous entity, ignoring the complexity and diversity of the region that could only be experienced at the ground level

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90 93. Author, Diane Powell collected and analyzed hundreds of Sydney press articles and noted that coverage of Western Sydney repeatedly portrayed people who were living on the edge, desperate and hostile. Powell explained that mass media played a significant role in the emergence of Western Sydney as the other side of a social boundary, one which contains several groups of society's others

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the poor, the working class, juvenile delinquents, welfare recipients, public housing, tenants, aboriginal people, immigrants from anywhere, but particularly the Middle East and Asia, Western Sydney includes all of those groups, carts out to the margins.

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and many scholars agree that Western Sydney has an image problem and demonstrated that mass media narratives focusing on the region's problems. During the 1960 s. To 2,000 S. Played a significant role in establishing Western Sydney's cultural identity as the other Sydney

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studies have shown that the negative image still exists today, that that people and living in Western Sydney are acutely aware of and have been impacted by the stigma attached to the West.

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More recently an array of maps circulated on the Internet as as social media memes or data visualizations and illustrations accompanying news stories have tended to reinforce our regions, perceived geographic, social, and economic disadvantage. Compared to the rest of Sydney.

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for example, the red rooster line on the left was coined by an anonymous Twitter user in 2,016, who created a map of the locations of red rooster outlets and presented it as a definition of Western Sydney

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also referred to as the chicken curtain. The line runs from Sydney's southeast to the northwest and to the west of the line. The red rooster proliferates the Tweet created a huge online sensation that continued to ripple for several years after the original post referred to as visionary, and a revelation that offered a method of marking the socio-economic status and the divide between the halves and habits in Sydney.

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the red rooster line ignited conversations in the media and on social media, about the relationship between socioeconomic status and geography, inspiring other Max, that illustrated media stories reinforcing the disparity between Sydney's East and West when it came to higher school certificate results in the top right and property values on the bottom. Right?

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Then we have the ubiquitous image of the Westie, a rhetorical device to designate the other. Sydney spatially, culturally, and economically different from the more prosperous and privileged Sydneyysiders of the North and East

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sociologist Gabriel Gwya proposes that the West. He became iconic after Michael Thornhill's 1977 movie, the F. J. Holden, shown on the left, which it shows a snapshot of the life of young men in Sydney's western suburbs, presenting the areas a cultural and spiritual desert where regular bouts with alcohol are the only antidote for lives without hope or direction.

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There's no simple explanation, for where the term came from, and why the image of the West is so ugly.

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unmotivated, crass, unemployed, and lacking fashion sense as captured by illustrator, Tom Melville. On the right.

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visual representations have influenced a construction and maintenance of Western Sydney's cultural identity as other Sydney and over the time, the term western suburbs came to indicate a social category rather than a geographic location

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art critic, John Berger argues that the way we see the world is shaped by the images that we're exposed to, and Stuart Hall's work on representation shows us that images are used to represent groups of people in a way that reinforces power. Relations.

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In the case of Western Sydney media representations have currently portrayed the region as a dangerous crime-ridden place, inhabited by uneducated and unemployed people contributing to the stigma of Western Sydney.

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However, this also means that visual representations can be used to challenge the status quo in the last decade local governments in Western Sydney have embarked on major rebranding projects to make themselves more competitive.

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An array of organizations, grassroots, initiatives, and collaborative creative projects have emerged in the West with a key goal of contesting the Westy stereotype and interrogating what it means to live in a region consistently perceived as the Badlands.

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So I wanted to contribute to the reimagining of Western Sydney, and thought, what if I created a map that focused on our region's artistic and cultural assets, a map that I'd never seen before.

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What I did was quite simple and outlined in a research paper I published a couple of years ago, which is shown at the bottom of the screen if you're interested. But to create the visualizations, I collaborated with a cartographer to build an editable map of Western Sydney that I couldn't find anywhere else. It allowed me to generate different maps, focusing on different features, such as the 3 on the right.

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and seeing this static map come to life and was incredibly satisfying. But it was really hard to read and lacked impact unless you looked at it at a large scale or really close. So in 2,020, I collaborated with a commercial mapping platform and web developer to build creative West an interactive map geared for the general public, particularly people interested in or involved with art and culture.

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who would like to see what's happening in Western Sydney. So the first iteration of the interactive map allowed people to explore approximately 500 active sites of creative practice and cultural production. You could look at the map from a bird's eye view or break the surface and zoom in to specific suburbs, click on a PIN to access more information about a site and then visit their website.

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Last year I moved the map across to another platform that allowed me to grow the database and incorporate more forms of creative expression in the West. including historical and temporal sites, hubs, networks, and the connections between them, building a picture of what creativity looks like in Western Sydney, past and present.

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in hindsight. It was a bit ambitious and working with a research-driven rather than a commercial platform has its pros and cons. So it's still very much a work in progress. And there's lots of writing that I need to do to articulate the new insights of gain through building creative West.

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But nonetheless, the map now shows more than 1,000 sites of creative production and growing, reflecting a previously invisible level of creative activity and a diverse range of cultural expressions, including design, art, music, literature, and community practices that contribute to our region's rich identity

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through making visible the region's past and present cultural capital. This project challenges the prevailing negative stereotypes and visual representations. Creative West has been used as a teaching resource in the design and creative industry's degrees at my university.

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and it's currently used by Western Sydney Arts Alliance to visualize regional art and culture on their website. It's informed major industry, research projects investigating cultural infrastructure and creative production in the West, and the recent state of the Arts and Western Sydney Report, published by the centre for Western Sydney.

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So visual communication is a process of using images to convey information or ideas, and creative West is one of many visual strategies that can be used to reposition western Sydney's identity as a visual communication designer. I'm confident in its ability to challenge negative stereotypes to promote a sense of community and belonging and to inspire change

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shown on screen are some of the many organisations and initiatives currently or soon to be based in Western Sydney, who have leaned into this prioritizing, inclusive representation, participatory methods and community engagement and visual storytelling to show the diversity of the region

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and increase the visibility of local talent, stories and voices amplifying the work of local cultural producers and grassroots. Creative groups, both in situ and online

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independent content. Content producers in Western Sydney can now tell their own stories and publish them online, reaching audiences directly and subverting traditional channels of communication.

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and by harnessing the power of visual communication, we are reimagining Western Sydney as a vibrant, diverse, and inclusive region with a bright future.

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Thank you. Thank you.

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Thank you so much for that rich talk. Our next

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speaker is here, Matthew Orsich, from the University of Louisiana, Faculty of Social sciences. Slovenia.

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who will speak on when is local, to local new localism and the potentials of immovable cultural heritage?

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Ok, hello to everybody. So in this brief, thank you for the introduction first to Classa Geoffrey. In this brief time that I have at my dispose, I will try to present some data on new localism and the potentials of our removal of cultural heritage.

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And I will try to do Using this schedule first, I will have an introduction. Then I will switch to conflictuality of removal cultural heritage management.

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After that I will try to elaborate on the potentials of new localism for better management of heritage-based development, and then I will go to the core of my presentation by analyzing the characteristics of management of immobile culture, headed on Selected Case Studies in Slovenia, which I will try, then to wrap into some form of conclusion.

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Why such subject? Why did I pick such a subject when analyzing various problems associated with management of cultural heritage in its physical form. When I say immo or cultural heritage, I mean tangible cultural elements, such as buildings, monuments, landscapes, archive materials, books, works of art or artifacts.

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It was always too often regard that that. We can plan with them in a merely standardized procedure based on when established, but the predetermined systems of cultural heritage protection

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With which has assigned functions determined on the basis of some forms of expert knowledge, measurements, and scientific data due to this physicality of the culture of renewable cultural heritage. It was often automatically presumed that the planners

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can well plan the embodiment of this heritage within the social, cultural contextuality of a locale.

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However, Only very rare situations can planning with cultural heritage actually be solved it with merely pre-formalized procedures, so much more often what is required is to connect the perceptions, needs of local population groups with formal planning objectives and practices that yield more reflected and inter-community, negotiated decisions on management of immobile cultural heritage.

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So from here we come to the conflictuality of immovable cultural heritage management. Whenever you try to introduce some new ideas regarding immobile heritage management.

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You discover that it is a very sensitive undertaking in terms of social and cultural values, and that it requires a great deal of patience.

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because you have to acquire adequate data, and it takes long processes to coordinate between different local groups of stakeholders. And these stakeholder groups may have conflicting interest, and they for not only regard to aims, but also according to the level to which they accept new ideas. This can be easily seen in often exposed various nimbus syndrome which you can observe in many of your locals.

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So in this typical nim, but not in my backyard syndrome, different types of civil society, initiatives, local communities, and on the other side, conservation approaches development, aspirations of investors, political structures, and other actors clashed to assert their particular interest in needs.

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so in popular discourse, the local actions

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associated with heritage management are often connected to.

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Presumably here are his eyes and rigid local networks associated with the effects of strong localism that prevents new development. But is it actually so?

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We have to elaborate on the potentials of new localism for better management of heritage-based development, because in popular debates localism is often debated as an element that prevents the introduction of nullities into local space and obstruct its faster development. So the real effects of present localism trends are much more complex and cannot be reduced to simple differentiation between beneficial or detrimental effect.

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The sphere of today's global influences. The local communities ranges from distinctive protection of local spatial features to distinctive transformation of low-level communities. This mesh of influences

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Mit Ctl and make some communities more open or permeable to global influence. On the other side. Also, of course, some community stands to be more reserved and try to minimize the influences of this new element. So what it is, localism, what I'm addressing within this speech one

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well, localism can be best described as a relation between place understood as a space which is relatively small and limited and social phenomena that occur in it. This relationship is then valorized, ideologized from the point of observer and becomes part of its conscience.

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Traditionally, localism and root in this has been considered as a backward and movement and part of this conservative poll of values we can make easily make connections to, for example, to turn this differentiation between the manshaft and gazelle shaft.

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but in fact, argues when he writes, when he. This is one of the first authors which wrote about this distinction between

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the new localism, he explains that this procedure of the

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globalization which has influenced in local communities and all localism trends.

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in fact, couldn't go. couldn't be carried till the till the end. It has found its inner limits in some basic human needs, and has generated dialectically its own limiting contradictions and countervailing forces. So the consequences of these countervailing forces.

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Of these processes was new localism. So the emergence of new localism, where elements of all localisms are fused with the processes of globalization that bring new elements into the locality. And on this table on the on the left. You can see this

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ere

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to try to emphasize choice.

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or when we come to the characteristics the old localism trends, try to connect to specialties, to inclusion, exp, but to exclusion of specialties, while new localisms try to assert specialties, but also twice we sew them into the perspective. So in our case, we look at new localism as a mechanism that filters perception of local communities to a specific types of heritage management.

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So here we come to the analysis of characteristics, of management, of removal, cultural heritage and selected case studies. So we'll look at how present are the elements of all the new localism in selected case studies, and how do they affect the removal? Heritage management?

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First is the case of the Bel Agresia. This is a site which is like 4,000 years old.

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Yeah, it's 4,000, which is really incredible.

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And this case illustrate an often debate debated conflict between preservation and exploitation or marketization of immovable cultural heritage.

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It. It bases the premise of this conflict basis on the gap between the operations of the local association composed mainly by locals

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and the village voltage grat where they move. Our cultural heritage is situated in the event, and involves a separate private developer which wants which wanted to privatize the era for its own purposes

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on the basis of a so snowball sample. Approximately 30 interviews were gathered on the locations, and the interviews allowed us to identify the main premises, the main characteristics of the conflict.

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and during this elaboration of the characteristic of the conflict, it became clear that the residents are resorting to all localism elements but

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Mit Ctl, and on the basis of deep interviews on the basis of deep. let's say, emerge immersion into the data. It was clear that the case of the Bel Agresia points primarily to the problem of unfunctional communication between involved anger actors, and this this is, was the main thing that fueled this old localism trend 150

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E. C.

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The second case I have to hurry because I am

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so. The second case

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it was the case of Beijing's stadium. This is an unesco-protected stadium, because it was built by a unesco-protected architect, Joshua pletnick

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and the main focus of the conflict entail different perceptions of radical renovation of the stadium surrounding areas between local residents and investor. Basically, the the investor wanted to redevelop the stadium according to his own vision, and which excluded the divisions of the local community.

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When asked, Do you support and not support the bourgeois bjud stadium redevelopment? Project. The comparison of residents from the local area and confront to other areas of the city, show that there are huge differences. Huge risks between local residents and other citizens

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was, the residents perceived red development as a great threat to cultural heritage and their general local quality of life. The general public saw the project as a beneficial addition to city quality of life.

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So this rift between local residents and other citizens could be, on the first glance, easily interpret as a case of Nimby syndrome when nimb is supported by elements of backwardness, attributed typical forms of old localism. But this is just on the surface, because the interviews again showed that under this camouflage of all localism heights, elements of new localism, because

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When, in fact, the local residents resorted to specific formal actions of how to prevent the actions of the private investors, then, in fact, right and the private investor resorted to the popular discourse by spurting specific ideological elements by by trying to convince the popular public that the project is in order one.

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And here we come to the third case of local communities managing empty monuments owned by Republic of Slovenia.

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Here the focus of this part of the analysis was not on specific cases, but rather on the overview of her actions of local community stores and the management of anti-monument. Here? We asked. We accumulated various responses from local communities and municipalities in which are located these empty cultural monuments owned by the State.

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And here are presented the municipalities, and each municipality was asked to define, what is, how do they see the management of empty monuments which are in their locale. So when asked whether they would like to transfer the cultural monument into the ownership of the municipality.

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they clearly said, well, the majority of them said they wouldn't like to take care of them. They wouldn't like, because this would represent a financial burden to them.

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But on the other side, they knew exactly. Did they need the monuments, and they would like to connect them to private public initiatives. In this regard. They do. You could again sense specific elements of new localism, but which kid didn't come to the surface and on the on the superficial level. It was clear that all localism trends are supposed to be direct the the management. But, in fact, this was again a camouflage for the 100

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for the neurochristians which are behind it.

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So if I try to write this into some form of conclusion, regardless the radical actions that local communities sometimes use in order to prevent implementation of specific culture or heritage projects. It is necessary that to emphasize the problematic is much more complex. The analyze data showed that local communities miss some key elements, tools, and mechanisms that would enable them to fully participate in the process of more holistic heritage management.

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So on the microscale, the emergence of apparent old localisms, indeed, stops specific actions that might lead to the development of local socioeconomic capabilities. But on the macro scale the formal system of participation does not allow sufficient inclusion of stakeholders in the process that would allow better optimization of the management process for the local communities. So the problem of obstruction from local communities is, does not deliberate in Sue Jenneries.

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but a consequence of bad systemic structure.

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and all localisms are in this constellation uses a weapon by local communities to prevent unwanted consequences because they want to preserve their lifestyle. The data also shows that strong elements of new localism are present in the localities, but they don't come to the surface because the mechanisms don't identify them in the present constellation.

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So the old localisms basically camouflage the elements of new localism that has not sufficient contextual ground to prosper.

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And with this I wanted to show, in fact, how On these specific cases, how, in fact, we have completely the wrong mechanisms of identifying what? what is

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let's say, what what comes when? What kind of mechanism, in fact, direct the old, in fact, direct the immovable culture hides in management and does and don't come to the primary objective because of such, let's say, a badly constructed system of identification of immovable cultural heritage

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artifacts. Or, let's say, other physicalities that are in place there. Okay, I will stop here and thank you for the

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attendance.

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Thank you, Matthias.

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Very interesting, and

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next talk

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is by Sabrina Porato Santana, from Lumi, Percy, Tad.

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Federal Rural, the Real, and in the area of Brazil, of course. the talk is entitled Tensions and Disputes over the locality

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at the in her Team museum for contemporary art.

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Sabrina Parracho: Okay? Can you see it? the presentation?

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Okay, thank you for accepting the paper.

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Sabrina Parracho: I I think it's the evening there, but it's very early in the morning for you.

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What I'm talking today is about cases 30 on the Museum of Art.

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Sabrina Parracho: and the relationship between the place where the museum is located. and that for their global art markets. That's what I'm interested in.

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Sabrina Parracho: being at zoom Museum for contemporary art was founded in 2,004

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Sabrina Parracho: in. It's a very small city

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Sabrina Parracho: 60 kilometers, from which is the the capital of it's a very, very small city. It's 38 and 38,000

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Sabrina Parracho:  and head downs

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Sabrina Parracho: and It's located in a huge, huge protect. They' a property from the who is the bedroom of the museum.

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Sabrina Parracho: It's a private institution. And what I'm interested in, and is understanding the image that the donor or the patron builds for himself as carbon dioxide for the freak collection something like that, and how he's interested in building this image.

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Sabrina Parracho: And the controversies that are linked to it. And also the image, the global image of the institution. actually, it's Co, they, the

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Sabrina Parracho: the collection is made mainly of

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Sabrina Parracho: the mail art, the men artists in Brazilian art and also in global art. it's 450 works of all the arts scattered around the gardens, and 6 in the original 6 pop videos that were abuse. This one is a pavilion for Tunga, who is a

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Sabrina Parracho: a major artist in browsing and arts.

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and but also Tounga Diana for a zoom an astronaut to see the medal is, which are important arts for birds, you, but also all of 4. And a son Matthew Barn.

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Sabrina Parracho: Chris Burden, then Graham, France, Ackerman, we have a lot of important artists in our global markets.

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Sabrina Parracho: what? I was actually interested. So it's understanding this image that the the collector wants to show and the they much

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Sabrina Parracho: that

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Sabrina Parracho: the press and public opinion are trying to understand a tr to build from him?

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Sabrina Parracho: he's always shown by the Museum and international press as a great bathroom and important philanthropies who built this amazing place in the cart of and but it actually in Brazilian press, if you'll see his, or since the beginning of the museum has already

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Sabrina Parracho: been shown as a a polymic person it, mainly because of some

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Sabrina Parracho: he's linked to. I did not say that. Sorry, but his link to the mining and exploitation in the area. It's a very important

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Sabrina Parracho: regional in Brazil for The mining exploitation, the iron mining.

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Sabrina Parracho: So he's linked to environmental damage, and also those accused of slavery and other pract that on the paraphrase per periphery of of of capitalism that we're not very well received. So he's wealthy, remote to his father in law, who is one of the

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Sabrina Parracho: who was a back owner in the and eighties. They have the buys, describes him as a traditional capitalist. He was not very very on the field. We could say

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Sabrina Parracho: and he was eventually bankrupted or bankrupted. But then I the price uses his money to invest in the mining activities. So he's the he describes himself as I don't have it here, but as A man of you know his, his, a person who uses the money to make

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Sabrina Parracho: great investments in China, and

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Sabrina Parracho: it's especially exporting the commodities. So they're not advice. He sees himself as a person who is linked to the international markets, and who is

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Sabrina Parracho: rooted in Brazil, in the mining activity, but who is linked to the all those international networks of markets relationships. So in the 99. It's he started actually, in the beginning of the the 2,000.

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He started to sell the collection of his father-in-law which was mainly centered in modernist Brazilian artists, such as Saxila Damata. Very important Brazilian artists. And I saw those

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Sabrina Parracho: yeah. Important works of art to build a contemporary art collection. He! He movement the whole

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Sabrina Parracho: markets in Brazil, which was very

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Sabrina Parracho: There was a a huge impact in the art markets, and then he opened the

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Sabrina Parracho: They Institute in 2,004 actually It was first opened for a group of entities or guests from the the visitors of the biano

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Sabrina Parracho: in some, paul. He chattered at jet, and he took those gatekeepers of the art markets and also

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Sabrina Parracho: the important people who could help him shown the institution abroad especially linked to the international market. So what I would like to argue

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Sabrina Parracho: that's the thing that's important to us to see, because he's always saying that he wanted to build in the area a new airport to link the collection directly to the international art market. He's very of course, the institution is rooted in

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Sabrina Parracho: brumajing, but he's always concerned with the the international art markets. The global art marked. He's he sees himself as

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Sabrina Parracho: as as if brumajing was a global city like Saskatchewan, but linked directly to other

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Sabrina Parracho: Art Institute.

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Sabrina Parracho: and he says these are a pragmatist. I think I had, and I think big. I'm going to create here a post contemporary, Disney award that keeps people that makes people grow and serve society that are large. So it's just it's like the dream lines that to

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Sabrina Parracho: that's Benjamin's talking about. So this is some of the word, the the artworks that were initially

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Sabrina Parracho: place there,

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and the others

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Sabrina Parracho: and tunga. What's happened is in 2,019 There was a damp rupture, because Brumajing was a place where

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Sabrina Parracho: his company had

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Sabrina Parracho:  a mining extraction, for

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Sabrina Parracho: I had already sold that to Valley, who is which is a a a Federal

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Sabrina Parracho:  company.

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Sabrina Parracho: But anyway, the mining

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Sabrina Parracho: the dam was and it was a huge catastrophe in bromazine.

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Sabrina Parracho: What happened is that all that those critics that were forgotten, or that were erases that nobody would speak about. They came

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Sabrina Parracho: out with the bar. They they were up to off the down 300 people died in this. It was a huge catastrophe.

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you know. Ching was not

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Sabrina Parracho: touched by this, but anyway, the problem is that

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Sabrina Parracho: it was a intensely affected, of course. not only because of the workers who work there, or many of them were cute.

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Sabrina Parracho: but also because it called the attention to the mining extractivity that they now the price, made all his money off. So the tensions between the local where it will the place now where your team was located?

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And

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Sabrina Parracho: this to some started to take a more prominent perspective. And this tooth says describes the January 2,019 as the day that changes forever the life of a byte seating minister, as we imagine

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Sabrina Parracho: the rapture, the rupture of the them in, took many lives, and affected so many others. Our neighbors, after all, the magic is the home of

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Sabrina Parracho: the Institute, was not directly affected by details, but had to act from the first moments we evacuated the park, and we're closing for 2 days for 2 weeks and closing.

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Sabrina Parracho: Thank you. Yes, okay. Oh, I will. So what happened is that the the technicians and the other people of the museum had to deal with the the image of the institution.

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Sabrina Parracho: and also what happened was that all those lawsuits

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Sabrina Parracho: and critics that were addressed to they

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Sabrina Parracho: came. They are rules. There was this huge  rapporte that was published, and Bloomberg, and also recruited in main Brazilian journals that talked about the career, the crimes from the

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Sabrina Parracho: And then what happens that the museum really had to deal with this trying to first behind the price had as he was, he was prosecuted.

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Sabrina Parracho: and he was condemned eventually, after all, after that he was absorbed, but in this, in the course of the process, he had to donate the collection for

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Sabrina Parracho: the government. So the museum is no longer a private So now it's a it's owned by the

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Sabrina Parracho: the the government of.

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Sabrina Parracho: and he had to. He donated it and the technicians they of the museum. Then they had. They had to start it

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Sabrina Parracho: to think about. terrific the museum. So

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Sabrina Parracho: on the left there was the pandemic. So the museum was closed for a couple of years, and when it's reopened some of works, we're all at great science, the mining activities. This is a lot of in work.

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Sabrina Parracho: And this is.

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And it was a last year exhibition.

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Sabrina Parracho: And and now they are they are trying to to make the museum, or local, and in in it did, rooted in the neighborhood or in the the city. It's located, but

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Sabrina Parracho: it's not without conflict they zoom is also the main of darts that are being invited for the institution. They are also bringing about the commodification of the local, and they are complaining about. how the museum was were disputes. I'm sorry for taking so long, and

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Sabrina Parracho: I will stop it here. Thank you.

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No, that's very good.

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thank.

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and right on time. So we're doing. We're doing great where there are last talk. And the organizer of this session, Eduardo de la Fente from the University of South Australia, Australia.

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We'll talk about textureality

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knowing and appreciating places through their surface textures.

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It's actually textureology. But I like textuality better. I think so. So thank you for that. 2 preparatory remarks.

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I do have empirical case studies. I'm interested in concrete.

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sandstone and so, or sandstone landscapes which I talked about in another Rc. On on Monday. And the other thing that I'm I'm interested in is I? I don't know what would you call it? The weather, I suppose, in the context of of Australia I'm also interested in something called cool climate locations as a kind of surface textual manifestation

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The other preference for a remark is that next week I've been crazy enough to organize another symposium, which is, gonna keep me very busy in coming days which Katrina, in fact, is involved in. So there is a version of this paper which is gonna be aimed at urban planners and place, economic development,

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professionals or practitioners. And so I would like to think that there is some practical applications from what I'm calling the the textual imagination

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In recent years I've been engaging with forms of social and cultural analysis. One might call a textual sociology a texturology, which is what Michelle de Sateo calls it, or simply the application of the textual imagination to phenomena.

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irrespective of 1 one. What one might call it. An emphasis on textures seem to to stand in contrast to text textuality and textual analysis.

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Yet texts and images are also surfaces with textual qualities. For example, print media can be glossy. A term that's already been used today, or mat and film content can also be analyzed for the way it deploys color or the way it deploys light and shadow.

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Thus, rather than textuality per se. Perhaps those of us with a textual bent. What we we kind of oppose is the misplace idea that surfaces don't matter.

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For example. American Chinese geographer, Efu Tuan, who is sometimes called the father of humanist geography in a programmatic essay on Surface Phenomena. phenomena, says, so much of life occurs at the surface that we obliged to pay more attention to its character, its subtlety, its variety and its density than we have done.

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even more prominent.

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even more prominent. Would be the British anthropologist Timingle, whose theoretical trilogy, perception of the environment being alive and imagining the reel makes a very strong argument for looking at surfaces.

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Ingol says, What if surfaces are the real sites for the generation of meaning.

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then, by mining them, excavating them or clearing them away. We may, in fact, be destroying precisely what we seek to find, and and that lies under our very noses convinced us we are that the truth can never be on the surface, but somewhere deeper down.

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Now, interestingly, a guiding metaphor in Engel's work, particularly in being alive, but also a book that he offered called lines is the idea that social and cultural worlds evolve the notting of elements as well as the Allied idea that buildings, landscapes, and other spatial environments are like textiles.

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In this respect it's interesting or noteworthy that a recent book about knitting is actually entitled texture.

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in addition to recommending that Anita or a craft person in general, for that matter, should keep sketchbooks containing palettes of texture, and you can, in fact, see one of Eric Kunite's palettes there, which runs from concrete through to the the sky, and includes things like morning fog, and and so forth. She calls this a pallet of texture, she says, in addition to pale architecture.

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The reason why she thought about This connection between knitting and texture was that the creative process itself is a textual activity involving thousands of subconscious decisions. This yarn, that fiber will it work in this stitch, maybe a different color, and then reviewing, refining, and simplifying.

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moving from knitting to the field of geography. And this is a book was, in fact, a fish rift for Tuan, who I mentioned a minute ago. The editors of this book, textures of play say etymologically, texture derives from the Latin to her a meaning to weave.

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they add, just as textile is created by bringing together many threads. People's experiences of landscapes, cities, and places involves a threading together of social relations and human environment interactions.

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Thus a productive area of textual observation has been reflection on what clothing, fashion, skin, cosmetics, tattoos, or adornment share with architecture, urbanism and the material qualities of places

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in Atlas of emotion. Juliana Bruno, who is Professor of Visual and Environmental studies in Harvard, writes Cloves, Architecture, Interior design cosmetics and the moving image are co-terminous spaces of inhabitation. They are all part of a shared interactive experience.

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and there's many other books which I won't have time to discuss. But there's a very interesting return to the writings of John Ruskin, who wrote both about architecture, but also about clothing and fashion.

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Let me point. Instead of going through all this scholar literature, let me point to 2 creative projects that draw on surface textures.

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The first is the work of Melvin, Visual Artists and Architecture academic Peter Carlin. I've also brought a book. If anyone is interested.

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and Carlin's work revolves initially revolved around a photographic series. Urban fabric.

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greyish or or Yeah, grayish The letter was based on portraits of Melbourne's mid twentieth century corporate architectural facades which exposed the latent image of Harris tweed amongst the building's faces, and early on in the book Carlin says.

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you know, there was a kind of light bulb moment where she was walking around the city that were in, and there were lots of buildings from the 50 s. And sixties that evoked in terms of their patination, their color, their tone and their texture. The fabrics that she had encountered when she went on a trip to the Hebrides.

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The project also generated the book which I just held up on surface and place between architecture, textiles, and photography. The book in particular takes weaving as its motif

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and uses photography and cultural theory to juxtapose surface textures that in a sense exist in different temporal and spatial continuums.

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So Carlin's work prepares in contrast. For example, the handcrafted geographically specific and culturally grounded fabric of Tara's Tweed

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and the global phenomenon of what she calls the mass-mediated surface of the curtain glass wall. And it's mass mediated because it's not just the subject of you know, some lovely coffee table books. obviously, if you've watched, and any episode of madman, you know that there's a kind of celebration of a kind of architecture that she's talking about.

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Carlin's work constitutes an inquiry into things, how things that are off often in terms of the surface. Textures at opposite ends of binaries end up, in fact, having things in common.

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she says both Harris tweed and curtain blast buildings are fabricated.

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and despite common assumptions, that the Hatteris tweed is the product of mechanised, that it has provenance and its craft, it is also the product of mechanised global supply chains

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in turn. The architectural facades that she's interested are artefacts with her own tactility. Similarly, both Tweet fabric and glass curtain facades require care and attention to surface conditions.

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Carlin concludes her book by quoting the German philosopher, Hans Geo. Gadamer.

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Our capacity to preserve and maintain rents rests upon the fact that we must always order a new what threatens to dissolve before us? In other words, we're constantly having to decide. Is this building still fit for purpose? Should it, so does it have enough surface integrity. And as an owner of lots of tweed codes, I can also say you have to make these decisions.

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Have the moths got to them, you know. Can it be repaired? Should it be upcycled rather than repaired? And on those kinds of issues the person I would recommend is, in fact, rigid senate in his building and dwelling. He talks about repair

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remediation, and I can't remember the third one now, but he says that, taking care of things is, in fact, a very important strategic decision when it comes to places cities and landscapes. So this is one of Carlin's images. 5 min.

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And it's an imposed image of a mid-century building onto a piece of fabric a lot of her work is on is on fabric which is deliberately trying to emphasize the tweed-like character of these buildings.

421
01:30:59.520 --> 01:31:06.359
I'm just quickly going to go to a second creative project is from my native city, where I was born

422
01:31:06.400 --> 01:31:10.560
from Montevideo, and it's called Lapel de la Sida.

423
01:31:11.190 --> 01:31:16.010
produced and broadcast by TV. TV swed

424
01:31:16.240 --> 01:31:38.719
which is the channel owned by the The municipality of Montevideo! If Each episode begins with the presenter. Come, Urban Flynnur, Diego Gonzales, stating, I have always thought of Monte V there as something alive. I even called him or her vos, which is the second person or or familiar version of you.

425
01:31:38.780 --> 01:31:47.839
he said. He continues, in the introduction of Montevideo beats and twists to the rhythm of the men and women who traverse and inhabit it.

426
01:31:48.280 --> 01:31:58.059
Interestingly, Gonzalez was actually the first host of Masterchef. So he's a very flexible or adaptable TV presenter.

427
01:31:58.110 --> 01:32:00.559
The the first episode, though

428
01:32:00.620 --> 01:32:11.029
is particularly interesting from a surface texture, perspective. It actually deals with a Banksy-like figure who boast by the the pseudonym of

429
01:32:11.050 --> 01:32:16.110
from Odin, and who engages in urban interventions in the old city.

430
01:32:16.310 --> 01:32:30.780
These interventions take the form of ceramic collarges placed in sidewalks which have broken pavers, or which are generally in a bad state of disrepair. His first ceramic collage and he's got a good sense of humor was outside the Uruguayan Stock Exchange.

431
01:32:30.780 --> 01:32:46.700
and was promptly removed by the city authorities. But over time the municipality, the residents, the media, and various urban groups have come to embrace Odin's creative interventions. There has even been a children's book about this character, El Senor de la Hondorsas.

432
01:32:46.710 --> 01:33:12.419
in one of the rare interviews that he has given in explaining what his creative project is about. He says that he noticed, after 25 years away, during the dictatorship, that Montaguevianos walked looking at the ground lost in their thoughts, and he wanted his ceramic collargas to surprise, interrupt, and restore the sense of adventure in urban journeys.

433
01:33:13.090 --> 01:33:26.690
So conclude, if we are to take surface textures seriously, then it follows that we don't subscribe to a model of cause and effect where shedding old skins or putting on new clothing magically transforms a place.

434
01:33:26.740 --> 01:33:40.369
The aforementioned twine suggests that when it comes to surface textures we are constantly in danger of moving too quickly from the rich texture of surface life to highly abstract theories.

435
01:33:40.390 --> 01:33:52.540
Arguably the same can happen with place thinking and place strategies which are what I'm going to be doing next week. But to employ a textual imagination requires recognizing that places are dynamic.

436
01:33:52.560 --> 01:34:04.330
material, and effective entities, and that tinkering with one textual thread is not going to magically transform the entire fabric or mosaic of place activity.

437
01:34:05.100 --> 01:34:11.200
In this respect it is not noteworthy that some authors use terms like reverberation.

438
01:34:11.320 --> 01:34:12.410
echo

439
01:34:12.420 --> 01:34:41.789
resonance, and attunement to describe how people make sense of places. These are all good textualist concepts, as is Bruno Latour's idea that what we need is to learn to be affected. Latour defines this as knowing how to be moved, put into motion by other entities, human or non-humans. If you are not engaged in this learning sesslet Latour, you become insensitive, dumb, you drop dead.

440
01:34:41.820 --> 01:34:56.069
We might add, it isn't just individuals that risk becoming insensitive, dumb, or dropping dead. It could happen to neighborhoods, to retail precincts, to university campuses, to towns, or to entire cities and regions.

441
01:34:56.250 --> 01:34:57.279
Thank you.

442
01:35:01.670 --> 01:35:16.340
Thank you, Eduardo, and we have a little time. We have maybe 15 min, and I'll just start quickly. But please think of questions and thank you for introducing this, this concept of

443
01:35:16.390 --> 01:35:23.030
of textuality. And and and I would just comment that my interest in

444
01:35:23.160 --> 01:35:33.560
avant-garde art stems from what can possibly resist standardization rationalization. And I'm fascinated by

445
01:35:33.580 --> 01:35:37.610
this notion, which I would expand to a kind of

446
01:35:37.680 --> 01:35:42.559
of sensuality. Maybe that's a word I should have used last.

447
01:35:42.630 --> 01:35:47.740
Complexity! And one thinks of, let's say.

448
01:35:48.030 --> 01:36:05.659
talking about wine or anything else. Food. I'm glad that you you brought up the notion of food. So places is irreducible. There's something special about place that cannot be homogenized and cannot be

449
01:36:05.770 --> 01:36:23.899
standardized, and that's, I think, but possibly our hopefully, our our fascination. with the notion. So anybody for questions here and or online, please? did we have somebody online?

450
01:36:24.470 --> 01:36:32.920
And here, please come up also here so they can see you. I see lots of hands. Too many hands. But just one at a time, please.

451
01:36:34.750 --> 01:36:36.960
sure!

452
01:36:42.110 --> 01:36:50.380
And also the various speakers can either present something or interrogate each other if if you like.

453
01:36:53.180 --> 01:36:54.050
please.

454
01:36:54.380 --> 01:36:55.360
and then

455
01:37:02.500 --> 01:37:19.609
Hi! I'm gailed the Brs from the University of the Philippines. And I'm particularly interested in the study of music and emotion. So my question is directed to Professor Delaware. And I was thinking about So

456
01:37:19.610 --> 01:37:40.019
how texturology, because this is a new thing that I've heard just now, and I'm thinking about how we can. view music also as a type of texture. Whenever we encounter places like, for example, when you go into the market, you get this. It's not just the feeling of the floors and the feeling of the

457
01:37:40.160 --> 01:37:58.459
base itself, but it includes the type of ambience for the people talking around. So I was just thinking about. if this has been talked about in texturology, or is it more of that? More physically material objects? Yes, thank you.

458
01:37:59.770 --> 01:38:02.489
So what do we just over have to stick around the

459
01:38:09.150 --> 01:38:19.399
well? Thank you for your question, because it struck me while I was reading the concepts which come from a Gaston bachelor.

460
01:38:19.430 --> 01:38:30.989
And what was the last one attunement? Well, there's a few people who have talked about a tumor, and Rita Felsky and the anthropologist, Kathleen Stewart, do you? I only realized while I was reading it they were all sonic.

461
01:38:31.330 --> 01:38:56.560
So the places reverberate that they echo. So I I definitely think, the city which I live in at the moment has just become a unesco listed. music. what is it? Music, capital music cities. And it's very interesting. Obviously, music tells us a great deal and lends itself, I think, to this textual

462
01:38:56.560 --> 01:39:11.770
idea. with one of my co-authors. We've also been writing about how people in a sense, thread music into their lives to differentiate what is public from what is private.

463
01:39:11.950 --> 01:39:18.859
but also to what extent people feel comfortable or uncomfortable. So in the last

464
01:39:18.870 --> 01:39:33.450
article we did together, we actually did an an analysis of something called quite our shopping, which exists here. I think it exists in the Uk. I don't know if it exists in the Philippines. It's a primarily at neuro-dvergence, but

465
01:39:33.450 --> 01:40:00.400
everyone seems to like it because they turn off the the speakers and so forth. having said that as muddy, so who comes from chile noted. when we're walking back to our hotels last night we encountered loudspeakers. So there are attempts to curve crime, create warmth some of these, I think, are a bit bonkers. I mean the idea that you can eliminate crime by setting up loudspeakers in particular places.

466
01:40:07.010 --> 01:40:10.140
Then the if you

467
01:40:12.970 --> 01:40:42.030
no, I know. But this is where is it cause and effect, or are they? Is it? Let's say, what is the chain of association that leads to the the kind of conduct that we're talking about, but that. But I thought you were on the side of not being a reductionist when it came to urban planning from from your talk in a sense that if you if you tell that to urban planners, they they're going to run with it. Mayors are going to want to play classical music every

468
01:40:42.130 --> 01:40:43.910
everywhere.

469
01:40:53.080 --> 01:40:58.020
Thank you. More music, because I also study

470
01:40:58.180 --> 01:41:17.339
study music. for the reflection that now we're Philippine friend, the G. We had the concept of soundscape also, like a definition of how series leave the the music and all the

471
01:41:17.480 --> 01:41:37.559
the way that sounds reflects about city. So that's that's just the the point. I mean, in the same idea of a sound and music. I I have something for Matthias more than a question. It's like a a small reflection of what I've worked at Mexico, and that can

472
01:41:37.560 --> 01:41:47.920
can work also for you. We have the mariachi music as a word, music, heritage by unesco.

473
01:41:47.960 --> 01:41:54.980
It is quite complicated when I met people that is studying marijuana music

474
01:41:55.140 --> 01:42:09.810
to make Like negotiations between those that are most into the preservation of the oldest way of marijuana music just from

475
01:42:09.860 --> 01:42:28.659
2 or 3 centuries ago, from the ones that get marijuana to the more commercial idea that was spread through classic Mexican movies through radio, 100 years ago, and so on. So there are also these kind of empty spaces in the sound.

476
01:42:28.660 --> 01:42:49.000
Harry, touch that we can push so the e listening to you make me this kind of reflection, because there are people struggling of what to do with a sound that it's a heritage. But if you make a ballot in Mexican people with no longer listen.

477
01:42:49.010 --> 01:43:02.429
A commonly marijuana music, but it's a heritage. We are now listening to many other things, not the marijuana. So it's more than a question. It's just to make a discussion here.

478
01:43:03.340 --> 01:43:04.100
Hmm!

479
01:43:04.990 --> 01:43:08.560
We have an intervention online with fault. There, please.

480
01:43:08.889 --> 01:43:18.169
Volker Kirchberg: Yes, thank you. This is a question to Anna Gonzales. she's still there. Anna is online.

481
01:43:18.959 --> 01:43:38.689
Volker Kirchberg: Oh, she is. Hi, I'm I. I sent you an email about it. But I want to mention it again right now because we are here online. I I I saw this an oxymone and photo music in general. On the one hand, you have this on. This boy is probably one of the most mass truest overtures city in the world.

482
01:43:38.740 --> 01:43:51.570
Volker Kirchberg: with so many Jews coming there and then. Now you apply for the music as a way of defining some kind of an indigenous local culture. so for the music

483
01:43:51.760 --> 01:44:11.240
Volker Kirchberg: doing to us into Lisbon and for the music, taking a a, a, a leaving the to us outside. So I I it sounds very fair, and, as I said only if we immediately came to mind for me, because you use music as a way of appropriating urban space

484
01:44:11.379 --> 01:44:14.820
Volker Kirchberg: back to the people who actually use it and not just

485
01:44:15.000 --> 01:44:20.019
Volker Kirchberg: make money with it, so I'm not sure whether I made my question clear.

486
01:44:21.910 --> 01:44:46.480
Ana Gonçalves: well, I I what I have to say about it is that there are somehow a tension between the tourist appropriation of the father of Venus and the locals, the ones who who feel very much and for the music because they understand the the language.

487
01:44:46.740 --> 01:45:01.069
Ana Gonçalves: and it's very important for for listening. Follow to understand the feelings that are well, that are in the lyrics and and this is somehow 250

488
01:45:01.240 --> 01:45:18.769
Ana Gonçalves: limited to the tourists, because, they don't know the language, mostly, most of them. And so they have limited experience of this. multi sensory music worlds.

489
01:45:18.900 --> 01:45:33.639
Volker Kirchberg: I think it's If I if I did to understand that question. And I I also last last issue just for a moment, is that when I do out of talks about the significance of music in the city.

490
01:45:33.640 --> 01:45:51.820
Volker Kirchberg: we just we have for 5 years now, and urban music studies Scotland network that deals exactly with that. So maybe everybody wants to know more about it should contact me, and I can tell them more about the significance of music for spaces. Thank you. That's it.

491
01:45:54.500 --> 01:45:56.120
Some other questions.

492
01:45:57.640 --> 01:45:59.990
you know I I'm not one, for

493
01:46:00.050 --> 01:46:01.990
I about the

494
01:46:08.080 --> 01:46:36.179
just a quick one one for Katrina, and one for Laura. My question for Katrina. I I should out myself as a Westie. One of the things that I felt the cry from, in a sense, is the picture postcard images of Sydney, where things we travel to. So when the landscape iconography that gets celebrated into place is something that it doesn't feel like. It's just down the road.

495
01:46:36.180 --> 01:46:40.949
It's, you know, on the Sydney coastline, or it's the 3 Sisters.

496
01:46:40.950 --> 01:46:52.849
is that part of the the problem that this area of Sydney has. And for for Laura, who you probably know that I'm I'm very interested in concrete.

497
01:46:52.850 --> 01:47:10.999
The last time I went to the take modern, I bought, I think, 15 books on concrete and brutalism. so so there's a lot of academic interest in this feel. But I'm just wondering. Concrete and glass the the the each other's others

498
01:47:11.000 --> 01:47:28.440
when it comes to kind of cultural value and and urban value. Because obviously, you were talking about this shiny, new, glossy London that obviously seems a long way away from the more brutalist London.

499
01:47:37.000 --> 01:47:39.659
Laura Harris: shall I go fast?

500
01:47:41.430 --> 01:47:42.310
Laura Harris: Okay.

501
01:47:42.690 --> 01:47:51.049
Laura Harris: our concrete and glass each other's others is a question that I'm just gonna sit with for a while. It's a really good question.

502
01:47:51.560 --> 01:48:10.449
Laura Harris: what? It makes me think of this discussion I've had about this. Take one in case around the because what essentially the take one privacy cases is a discussion between a brick building and a glass building. What is different filling signify in terms of what they mean and how this with them. I think it's interesting that the tape on development, I mean, it's not concrete, but it is brick.

503
01:48:10.450 --> 01:48:23.570
Laura Harris: and that is a very particular, relatively surprising aesthetic architectural choice in the area which, judging by the apartment blocks, is predominantly class based so South bank

504
01:48:24.100 --> 01:48:34.949
Laura Harris: development. But I'll call concrete in class. It turns out that I have a suspicion that they're not. I have a suspicion that they do things in tandem that they revise and sort of reach. This architecture

505
01:48:35.060 --> 01:48:59.610
Laura Harris: lends itself to the effective of cities in a way that it's this mixture of the hyper. the sort of hyper more than the hyper contemporary. back the revival. I think those are doing something in town them together to produce the at the particular affect the cities where they are both like London. And actually, I was going to say, like Liverpool, where I live, but not so much like Liverpool.

506
01:48:59.920 --> 01:49:01.450
Laura Harris: But it's a great question.

507
01:49:01.860 --> 01:49:04.020
Laura Harris: I'll get back to you on it.

508
01:49:07.170 --> 01:49:09.810
thanks, Edwater.

509
01:49:10.060 --> 01:49:17.739
absolutely the lack of, I suppose iconic images of Western Sydney

510
01:49:17.880 --> 01:49:45.810
and the gap that that creates has been filled by these negative visual representations. So And it's interesting you raise it because my first job as a designer straight out of university was working for Kendone, who's one of Australia's most kind of a significant, I suppose artists and and associated with you know, carving Sydney's global identity.

511
01:49:45.810 --> 01:50:17.469
beautiful pictures of the harbor, you know the the Opera house, that kind of thing. so I guess that's starting to shift because of these huge rebranding projects being kind of driven at the local level by local government. you know, for example, Penrith, which is at the foot of the Blue Mountains, is kind of establishing itself as a recreational capital or an adventure capital. They're building a kind of a beach

512
01:50:17.470 --> 01:50:26.630
inland. And there's there's like water parks and football stadiums. So there is a a movement in that direction that's going to find

513
01:50:26.630 --> 01:50:37.909
I suppose, or carve a a different kind of identity and iconic structures that will, you know, stand up for Western Sydney.

514
01:50:46.820 --> 01:50:49.629
Thank you so much. This has been a very rich

515
01:50:49.690 --> 01:51:15.130
presentation, and as we segue, I'll make one comment about. Not only is there a place, but there is also one can conceive of an anti place, and I'm thinking of of these homogenized buildings that, for example, the Russian oligarchs daughter in New York, which has the most expensive apartment. It's all glass, but there's nothing in it except some beige.

516
01:51:15.240 --> 01:51:34.479
you've seen these pictures also in in the New York Times Magazine. These beige furniture, which signifies nothing. It signifies non-place or anti-place. So there is also a tension between place and anti-place or non-place.

517
01:51:35.180 --> 01:51:50.379
So we're going to segue right into the business meeting. We're right on time, and the Alaria Purchione will be coming up. Just in a moment to to begin and thank you for

518
01:51:50.530 --> 01:52:00.730
for your attendance to this and for the whole conference, and we also have from folks online. so I I seed the floor to Elaria.

519
01:52:01.170 --> 01:52:02.350
the

520
01:52:02.600 --> 01:52:03.000
come on up.