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Journal articles on the topic 'Urban spectacle'

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Author: Grafiati

Published: 14 March 2023

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1

Chan, Ving Fai, Ai Chee Yong, Ciaran O’Neill, Christine Graham, Nathan Congdon, Lynne Lohfeld, Tai Stephan, and Anne Effiom Ebri. "Factors affecting guardians’ decision making on clinic-based purchase of children’s spectacles in Nigeria." PLOS ONE 16, no. 7 (July 12, 2021): e0254517. http://dx.doi.org/10.1371/journal.pone.0254517.

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Background This study aims to understand the key factors influencing guardians’ decisions when purchasing spectacles for their children in semi-urban and urban areas of Cross River State, Nigeria, where a spectacle cross-subsidisation scheme will be implemented. Methods This cross-sectional study was conducted among all consecutive guardians visiting the Calabar (urban), Ugep, Ikom and Ogoja (semi-urban) public eye clinics in Cross River State, southern Nigeria, from August 1 to October 31 2019, and whose children had significant refractive errors (myopia ≤-0.50D, hyperopia ≥1.50D, astigmatism >0.75D) and received spectacles. Guardians were interviewed using a questionnaire which included i) close-ended questions on reasons guardians choose to purchase spectacles for their children in eye clinics, ii) guardians’ perceptions of the quality and design of children’s current spectacle, iii) factors most heavily influencing their choice of spectacles for children, and iv) open-ended questions to seek guardians’ suggestions on how to improve the current spectacle range. Results All 137 eligible guardians (67.2% women [n = 92]) who visited the selected eye clinics participated in the study (response rate = 100%), with 109 (79.6%) from semi-urban and 28 (20.4%) attending urban clinics. Guardians from both urban and semi-urban clinics prioritised frame design, quality, and material as the main factors affecting their decision when purchasing spectacles for their children. Female guardians and those with higher incomes were both 1.5 times more likely to emphasise frame quality when describing selection criteria for purchasing spectacles for their children than male guardians (p = 0.01) or guardians earning less (p = 0.03). Conclusion Design, material, and frame quality are key factors influencing guardians when purchasing spectacles for their children in these setting and female guardians or those with higher income prioritise frame quality. This study could guide the planning and implementation of a novel cross-subsidisation scheme in Cross River State.

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Mehnaz, Saira, Ziya Siddiqui, Ali Jafar Abedi, and Mohammad Athar Ansari. "Spectacle wear and factors associated with non-compliance among children of 5-15 years." Indian Journal of Community Health 32, no. 1 (March 31, 2020): 87–90. http://dx.doi.org/10.47203/ijch.2020.v32i01.017.

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Introduction: Refractive errors are the commonest cause of visual impairment in school children worldwide. They are correctible and after screening, spectacles can easily enhance vision. This can be achieved only when spectacles are used regularly. Objective: This study was conducted to study the compliance of spectacles wear among children and to determine the reasons associated with non-compliance. Methodology: 400 children in the age group of 5-15 years with refractive errors attending the eye OPD, using spectacles for more than three months were included. Spectacle wear and reasons of noncompliance were enquired. Data was analyzed to determine the factors associated with spectacle wear compliance. Results: Among 232 boys and 168 girls 142 were from rural and 258 from urban areas. 244(61%) children were compliant. Compliance was better in older children and those from urban areas. Children of educated parents and with power more than -1.0 D were more likely to be compliant. Main reason for not wearing spectacles was ‘lost or broken spectacles’ and dislike for spectacle. Conclusion: Counselling of parents, teachers and peers will be an effective step towards improvement of compliance of spectacles use.

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Rosenthal, Anton. "Spectacle, Fear, and Protest." Social Science History 24, no. 1 (2000): 33–73. http://dx.doi.org/10.1017/s0145553200010075.

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The history of the city in twentieth-century Latin America can be seen as a long contest over the exercise of urban public space. While the nature of this space is often less physical than it is social and situational, the struggle between different elements of the city to manipulate its politics and control its daily life has often been violent, leaving deep imprints in the collective memories of places as culturally and physically diverse as Mexico City, Buenos Aires, Havana, Bogotá, and Rio de Janeiro.If approached from the perspective of contested space, the urban milieu offers an intriguing site for the historian interestedin exploring changing relations of power, class conflict, opposing visions of the future, breakdowns of social order, gendered spaces, health and disease, visual culture, spectacle and symbolic codes, and ultimately, the creation of community. Yet until the 1980s, most Latin American historians who were interestedin these themes confined their studies to the countryside. As late as 1975, Jorge Hardoy (1975:44) could write that “the urban history of the second half of the nineteenth century and the early decades of the twentieth is virtually unknown, in spite of the extremely rich material left to us by innumerable travelers, scientists, and men of state.” While historians and social scientists working from the 1950s through much of the 1970s delineated the complex relations between peasant villages and national states, the ideologies of rural rebellion, and the sources of identity and community in a countryside transformed by the demands of export capital, cities in twentieth-century Latin America were accorded secondary treatment, sometimes at the level of popular anecdotal narratives.

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Walsh, Katie. "Book review: Dubai: Behind an Urban Spectacle." Urban Studies 48, no. 10 (July 14, 2011): 2201–3. http://dx.doi.org/10.1177/0042098011410735.

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Gupta, Vivek, Rohit Saxena, Praveen Vashist, Amit Bhardwaj, Ravindra Mohan Pandey, Radhika Tandon, and Vimla Menon. "Spectacle Coverage among Urban Schoolchildren with Refractive Error Provided Subsidized Spectacles in North India." Optometry and Vision Science 96, no. 4 (April 2019): 301–8. http://dx.doi.org/10.1097/opx.0000000000001356.

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6

Yong, Ai Chee, Chimgee Chuluunkhuu, Ving Fai Chan, Tai Stephan, Nathan Congdon, and Ciaran O’Neill. "A pilot cost-benefit analysis of a children’s spectacle reimbursement scheme: Evidence for Including children’s spectacles in Mongolia’s Social Health Insurance." PLOS ONE 17, no. 8 (August 15, 2022): e0273032. http://dx.doi.org/10.1371/journal.pone.0273032.

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Background and aim Globally, 12.8 million children have vision impairment due to uncorrected refractive error (URE). In Mongolia, one in five children needs but do not have access to spectacles. This pilot cost-benefit analysis aims to estimate the net benefits of a children’s spectacles reimbursement scheme in Mongolia. Methods A willingness-to-pay (WTP) survey using the contingent valuation method was administered to rural and urban Mongolia respondents. The survey assessed WTP in additional annual taxes for any child with refractive error to be provided government-subsidised spectacles. Net benefits were then calculated based on mean WTP (i.e. benefit) and cost of spectacles. Results The survey recruited 50 respondents (mean age 40.2 ± 9.86 years; 78.0% women; 100% response rate) from rural and urban Mongolia. Mean WTP was US$24.00 ± 5.15 (95% CI US$22.55 to 25.35). The average cost of a pair of spectacles in Mongolia is US$15.00. Subtracting the average cost of spectacles from mean WTP yielded a mean positive net benefit of US$9.00. Conclusion A spectacle reimbursement scheme is potentially a cost-effective intervention to address childhood vision impairment due to URE in Mongolia. These preliminary findings support the proposal of the inclusion of children’s spectacles into existing Social Health Insurance. A much larger random sample could be employed in future research to increase the precision and generalisability of findings.

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Khelfallah, Sheherazad, and Abdallah Farhi. "Urban Theatricalities, A Communicational Claim. Reading of the Scenic Performances of the City of Jijel (Algeria)." Quaestiones Geographicae 40, no. 2 (June 1, 2021): 139–51. http://dx.doi.org/10.2478/quageo-2021-0010.

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Abstract This article aims to analyse and interpret the structures responsible for the urban theatricality with deep claims of the city of Jijel (Algeria). It is through scenic readings of public space that this study explores the latent expressions of users as stage directors. This will be done mainly with observation supported by research interviews that combine qualitative and quantitative studies. The urban theatricalities studied in this paper are those unconscious, spontaneous and continual experiences that the actors of the urban scene use to make an urban spectacle. It is about the spectacle of daily life and scenic transcriptions of experiences. The results of this scenic reading of urban script allow us to understand the hidden expressions responsible for communicational theatrical structures.

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Jonckheere, Evelien. "‘Gand a fini par faire comme les autres’." TMG Journal for Media History 20, no. 2 (December 21, 2017): 74. http://dx.doi.org/10.18146/2213-7653.2017.328.

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‘Gand a fini par faire comme les autres.’ The rise of the café-concert and variety theatre in late nineteenth-century Ghent’s ‘society of the spectacle’ Cafés-concerts and variety theatre have generally received only a cursory mention within the vast literature on the late nineteenth-century culture of spectacle in Europe’s major cities. This article uses Ghent as a case study to demonstrate that even in provincial towns, there was an abundance of spectacle available to the public during this era. Cafés-concerts and variety theatre played a particularly significant role and were closely interwoven with the spectacular urban renewal that took place in Ghent during the late nineteenth century. In addition, these forms of entertainment carried the seeds of the type of mass spectacle that would emerge in the twentieth century. Why, then, have the café-concert and variety theatre gone unexplored by academics for so long? In an attempt to answer this question, this article offers a means for identifying these two specific forms of spectacle in major urban centres and provincial towns in Belgium and abroad, thereby enabling a more thorough exploration of the phenomenon based on a wide range of sources. This, in turn, will allow the café-concert and variety theatre to emerge from obscurity and take their rightful place in the debate on the modern ‘society of the spectacle’.

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Wennas, Wendy, and F. Tatang H. Pangestu2. "“SPECTACLE GALLERY” MUARA BARU." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 4, no. 2 (January 23, 2023): 1647–58. http://dx.doi.org/10.24912/stupa.v4i2.22215.

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The development of the city of Jakarta began in the seafront area, which later developed into the city center as a port. For example, the Sunda Kelapa Harbor, has been used since the time of Tarumanegara and is often contested to control trade. Now coastal areas are starting to be abandoned because they continue to experience disasters. Close to the port, in the Muara Baru area, there is a mosque that has sunk due to an old embankment that collapsed by the tidal flood and is now a blind witness that Jakarta will sink. In the past, the area was active; there were many fishing activities and routine recitations. Now the area is limited by a new 4 meter high embankment and the availability of facilities and infrastructure is also insufficient. Because of this, the identity of the area becomes negative and continues to experience physical, social, and mental degradation. So the aim of this project is to provide awareness and innovation to the issue, using the concept of "Spectacle Gallery", i.e., architecture becomes the gallery itself. From the memory of the area to the initial issue of flooding to drowning and the solution of floating houses. Not only that, it aims to revive the area with a positive identity by exhibiting the work of the community from various village points in the area. As a liaison between humans and the surrounding environment, as well as humans with other humans, in accordance with the design theme, namely "Urban Acupuncture". Keywords: Degradation; Muara Baru; Urban Acupuncture Abstrak Perkembangan Kota Jakarta dimulai pada daerah pinggir laut, yang kemudian berkembang menjadi pusat kota sebagai pelabuhan. Contohnya Pelabuhan Sunda Kelapa, telah dipakai sejak zaman Tarumanegara dan sering diperebutkan untuk mengendalikan perdagangan. Sekarang daerah pesisir mulai ditinggalkan karena terus mengalami bencana. Dekat dengan pelabuhan, di kawasan Muara Baru, terdapat sebuah Masjid yang sudah tenggelam akibat tanggul lama yang runtuh oleh banjir rob dan sekarang menjadi saksi buta Jakarta akan tenggelam. Dahulu wilayah tersebut aktif, terdapat banyak aktivitas nelayan dan pengajian rutin, sekarang wilayah tersebut dibatasi oleh tanggul baru setinggi 4 meter dan keberadaan sarana dan prasarana juga tidak mencukupi. Karena hal tersebut, identitas kawasan menjadi negatif dan terus mengalami degradasi fisik, sosial, dan mental. Sehingga tujuan dari proyek ini adalah memberikan kesadaran dan inovasi terhadap isu, menggunakan konsep “Spectacle Gallery” yaitu arsitektur menjadi galeri itu sendiri. Dari memori kawasan terhadap isu awal banjir hingga tenggelam dan solusi rumah apung. Tidak hanya itu, hal ini bertujuan untuk menghidupkan kembali kawasan dengan identitas positif, dengan memamerkan hasil karya masyarakat dari berbagai titik kampung pada kawasan. Sebagai penghubung manusia dengan lingkungan di sekitarnya, serta manusia dengan manusia lainnya, sesuai dengan tema perancangan yaitu “Urban Acupuncture”.

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Guvenc, Muna. "Propositions for the emancipatory potential of urban spectacle." City 23, no. 3 (May 4, 2019): 342–65. http://dx.doi.org/10.1080/13604813.2019.1648037.

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Bramen, Carrie Tirado. "The Urban Picturesque and the Spectacle of Americanization." American Quarterly 52, no. 3 (2000): 444–77. http://dx.doi.org/10.1353/aq.2000.0028.

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Wan, Sim Hinman. "A Spectral Spectacle." Early Modern Low Countries 5, no. 2 (December 23, 2021): 332–65. http://dx.doi.org/10.51750/emlc11337.

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After Amsterdam’s late medieval Catholic monasteries were surrendered to the Protestant government in 1578, four of these properties were converted into an orphanage, mental asylum, and gender-specific reformatories respectively before the turn of the century. Portals with Dutch Mannerist expressions were installed at the principal entrances as a publicly visible feature of modernisation for the repurposed complexes. This essay is a study of these architectural objects and their socio-political value for the city’s philanthropic campaign that affirmed middle-class power. It argues that the portals, completed with narrative relief panels and didactic inscriptions, were a means for Amsterdam’s authorities to redefine the spectacle of social marginality. Once a concrete sight of panhandlers and vagrants occupying the urban landscape, to the general population underclass visibility became an abstract image of civic discipline. Such an image enabled sequestered and disappeared lives to reappear, with a spectral quality integral to Foucault’s analysis of modern society’s compulsion to stow away indigent bodies. Considering the seventeenth-century Dutch moral geography of moderating wealth through philanthropy, such a ‘spectral spectacle’ paralleled the Baroque theatricality of Counter-Reformation Rome as a spatial experience that advanced a more secular mode of devotion to the community.

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Silk, Michael, and Andrew Manley. "Globalization, Urbanization & Sporting Spectacle in Pacific Asia: Places, Peoples & Pastness." Sociology of Sport Journal 29, no. 4 (December 2012): 455–84. http://dx.doi.org/10.1123/ssj.29.4.455.

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Within this paper we “hold together” an amalgam of intensive and extensive glocalization and the simultaneous reinscription of the importance of the global growth rationalities to aid understandings of contemporary Pacific Asian sporting spectacles. Through a series of four vignettes, we point to the place of sport within intense transformations within urban conglomerations in Pacific Asia. In so doing, we point to three central, and interrelated, problematics that appear endemic to Pacific Asian mega-events; raising questions over whose histories, whose representations and which peoples matter to, and for, the Pacific Asian sporting spectacle. Conclusions are centered on attuning our scholarly directions toward the structural inequalities embedded within these processes and transformations.

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Noviani, Ratna, and Elok Santi Jesica. "Selling Spectacular Urban Life: Urban Space and Lifestyle in the Promotion Media of Apartment in Yogyakarta." Journal of Urban Society's Arts 8, no. 1 (June 9, 2021): 36–48. http://dx.doi.org/10.24821/jousa.v8i1.5223.

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This article discusses how urban life is represented through the Barsa City, Uttara the Icon, and The Palace apartment advertisements and promotional videos. Applying Guy Debord's idea of spectacle to examine how urban life is transformed into visualization and commodification, also George Ritzer’s idea of re-enchantment of the disenchanted world and the new means of consumption. This article is aimed to analyze the position of apartments in the urban space of Yogyakarta that is discursively constructed through apartment promotional media. The conclusion of this research shows that apartments are functionalized to create the spectacle of the city. Urban space and life are aestheticized and spectacularized, in which apartments are displayed as part of dramatic and extravagant urban arts. Presented as one-stop-serving buildings, the apartments also promote the fusion of living space, urban style experience, and consumption which lead to the difficulty in distinguishing spatial boundaries. The advertisements and promotional videos of the apartment in Yogyakarta also promote temporal paradox. On the one hand, it promotes time compression and speed, meanwhile, on the other hand it promotes prolonged and extended time to foster consumption in the urban space.

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Wang, Xiuqin, Hongmei Yi, Lina Lu, Linxiu Zhang, Xiaochen Ma, Ling Jin, Haiqing Zhang, et al. "Population Prevalence of Need for Spectacles and Spectacle Ownership Among Urban Migrant Children in Eastern China." JAMA Ophthalmology 133, no. 12 (December 1, 2015): 1399. http://dx.doi.org/10.1001/jamaophthalmol.2015.3513.

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Radford, Raymond. "Psychogeography." Fieldwork in Religion 14, no. 2 (March 31, 2020): 195–215. http://dx.doi.org/10.1558/firn.40567.

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The way that humanity both inhabits and views its surroundings directly influences individual and collective thoughts and emotions. Yet in a society that is constantly over-stimulated, taking in the surroundings becomes secondary to consumerism, and the distractions inherent within the spectacle. The spectacle, according to Guy Debord and the European revolutionary organization Situationist International (SI), diverted the populace from the reality that surrounds it, and the SI deemed themselves the correct ones to re-envision reality. Fifty years after the 1968 Paris riots, the Situationists no longer exist, but new groups have risen from their ashes to explore and view the world in new ways, groups such as those involved in Urban Exploration (UrbEx). UrbEx involves small, often self-guided groups that investigate the ghosts of modernity, and the detritus of capital that remains in the wake of the spectacle. Utilizing the Situationist International's concept of the dérive, the ideas that fuel urban exploration, and conspiracist ideologies, this article explores the urban world viewed through psychogeography: those who seek the new sacred in a gnostic quest to gain a greater insight into what lurks in the shadows of the myth of modernity.

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Melia, Amy. "Urban Spectacle and Détournement: The Image within Capitalist-Urbanism." International Journal of the Image 11, no. 1 (2019): 1–12. http://dx.doi.org/10.18848/2154-8560/cgp/v11i01/1-12.

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Yong, Ai Chee, Anne Effiom Ebri, Sara E. O’Connor, Diarmuid O’Donovan, Nathan Congdon, Christine Graham, Lynne Lohfeld, Ciaran O'Neill, and Ving Fai Chan. "Demographic characteristics and ocular needs of children attending child eye clinics in Cross River State, Nigeria: a retrospective analysis of clinical records." BMJ Open 12, no. 5 (May 2022): e060379. http://dx.doi.org/10.1136/bmjopen-2021-060379.

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ObjectivesTo describe the demographic characteristics and ocular needs of children attending four child eye clinics in Cross River State, Nigeria, to inform the development of a sustainable spectacle cross-subsidisation scheme.DesignRetrospective analysis of clinic records.SettingFour child eye clinics in Calabar, Ogoja, Ikom and Ugep, Cross River State, Nigeria, from 1 May 2017 to 30 June 2019.ParticipantsChildren who failed the vision screening in schools and visited assigned child eye clinics, and self-referred children from the community.Main outcome measuresChildren’s age, sex, residence, diagnosis, disease management, presenting and corrected visual acuity, history of spectacle wear and magnitude of refractive errors in spherical equivalent in the worse eye.ResultsOf all the 3799 records reviewed, data were available for 3774 children (mean age 10.6±4.35 years; 61.6% girls; 69.1% from urban settings); 30.8% (n=1162) of them had vision impairment. Of those children, 71.2% (n=827) were diagnosed with refractive error. For management, 48.6% (n=1833) were prescribed spectacles and 40.5% (n=1527) were prescribed ocular medications. Children prescribed spectacles were significantly more likely to be girls (68.0%, p<0.001), and older than 13 years of age (53.6%, p<0.001). The most common range of spherical equivalent (in the worse eye) was <−0.50 DS to +1.75 DS (51.6%, n=945), followed by >−0.25 DS to −3.00DS (39.7%, n=727). Non-refractive eye conditions such as cataract (33.3%) and corneal disorders (14.1%) contributed to almost half of the total blindness.ConclusionThe findings show that spectacles provisions and ocular medications are the primary and secondary needs for children who attended child eye clinics seeking eye care services. Further research is needed to understand parents’ willingness to pay for spectacles to set strategic multitier pricing for a sustainable cross-subsidisation scheme.

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Krupar, Shiloh. "Sustainable World Expo? The Governing Function of Spectacle in Shanghai and Beyond." Theory, Culture & Society 35, no. 2 (October 27, 2016): 91–113. http://dx.doi.org/10.1177/0263276416669414.

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This paper explores the Shanghai 2010 World Expo to show how spectacle serves a governing function of the Chinese developmental state. I introduce soil exegesis as a method to excavate sedimented power relations of spectacle, undergirding the expo’s presentation. This approach investigates how spectacle is a state-territorializing project and pedagogical venture that relies on and denies the state socialist-era’s waste, to produce a ‘new nature’ and perform socio-technical management of crisis and crowds. Dynamic rearrangement of soil quality and composition facilitated the urban redevelopment zone of sustainable futures, while interactive-technocratic environments inserted visitor bodies into expo surveillance systems and infrastructure without reference to the embedded political ecology of the mass event within Shanghai and beyond. The article concludes by considering ethical legacies of the event and the ways ‘sustainable spectacle’ operates through waste administration and environmental performance that ‘greenwash’ the socialist past and obstruct other governing arrangements.

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Lee, Yeonkyung. "Taipei and Seoul’s Modern Urbanization under Japanese Colonial Rule: A Comparative Study from the Present-Day Context." Sustainability 12, no. 11 (June 11, 2020): 4772. http://dx.doi.org/10.3390/su12114772.

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Both Taipei and Seoul underwent a process of colonization and modern urbanization during the early part of the 20th century, under Japanese rule. In both countries, urban-planning projects from the colonial period have had a great impact on recent urban changes. This comparative analysis aims to identify the characteristics of modern cities with Japanese colonial histories, focusing on the following three aspects: (1) Urban structure based on spatial distribution by ethnic group; (2) Japanese colonial urban planning; and (3) modern boulevards that convey the power and spectacle of a colonial city. Taipei and Seoul have multi-cores because the Japanese and Taiwanese/Korean areas were not clearly separated spatially. Secondly, Japanese colonial urban planning was influenced by Japanese settlements and government facilities. Thirdly, the main boulevards in each city, created through modern urban planning, combine modern streetscapes with imperial spectacle. These boulevards took on an important political meaning after liberation. Comparative studies of Taipei and Seoul can illuminate the difference between modern cities with a Japanese colonial history and colonial cities under European rule. Such comparisons make it possible to analyze the meaning, value, and relevance of colonial remnants, including urban structure and artifacts, for each city’s sustainable future.

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Rollason, William. "Performance, poverty and urban development: Kigali’s motari and the spectacle city." Afrika Focus 26, no. 2 (February 26, 2013): 9–29. http://dx.doi.org/10.1163/2031356x-02602003.

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In this paper I explore tensions and conflicts over poverty reduction and urban development in Kigali, Rwanda’s capital in terms of theories of performativity. On one hand, motorcycle taxis offer large numbers of young men good livelihoods – reflecting the government of Rwanda’s stated commitment to poverty reduction, especially amongst youth; on the other, motorcycle taxi drivers suffer harassment at the hands of city authorities and police, who are keen to eradicate motorcycle taxis from the urban scene altogether. I interpret this tension as a conflict over the appropriate performance of development in the city; I argue that in pursuit of urban development, the city itself becomes an image, projected in order to attract the investment which will give body to the simulated spectacle that Kigali present. Conflicts between the city and motorcycle taxi drivers erupt because motorcycle taxis cannot perform to the aesthetic standards of the new Kigali. In conclusion, I suggest that the rendition of Kigali’s development as image has broader lessons for studies of development in general. Specifically, these conflicts expose the operation of images and their performance as political resources, conferring intelligibility and legitimacy in the spectacle of national development.

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Manley, Andrew, and Michael Silk. "Liquid London: Sporting Spectacle, Britishness & Ban-optic Surveillance." Surveillance & Society 11, no. 4 (December 8, 2013): 360–76. http://dx.doi.org/10.24908/ss.v11i4.4740.

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Under the rubrics of recent ‘terror’ attacks—especially 9/11 and 7/7—the discourses of security and surveillance, and the subsequent heightened awareness of risk and insecurity, have been framed within an increasingly global context. Through an appropriation of the Ban-opticon dispositif (Bigo 2006, 2011), this article analyses the changing urban transformations of civic space and mediated messages perpetuated within, and through, the London 2012 Olympic Games. In so doing, we deconstruct London 2012 through a post-panoptic lens, identifying how processes of social control are reiterated and (re)configured through the establishment of a clearly delineated “other”, that which is deemed ‘unwelcome’ and situated as posing a threat to the safety of the normalised, and accepted, majority. Thus, through a reading of the cultural politics of class, race and gender that are embedded within sporting spectacle, we argue that London 2012 capitalised on the institutionalised culture of fear to convey, and thus contain, an accepted vision of multiculturalism, legitimising surveillance practices and security measures that became ingrained within the urban landscape and social fabric of the nation’s capital. In so doing, we point towards a troubling yet all too tangible true London Olympic legacy, one that identifies and subjects specific yet significant ‘others’ to forms of social control and corporeal governance.

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Nisa, Azkiya, Maria Regina Widhiasti, and Euis Puspita Dewi. "Commodification of the Urban Community Image: An Instagram Case Study of Motivational Quotes and Skyscraper Photo." International Journal of Management, Entrepreneurship, Social Science and Humanities 5, no. 1 (June 29, 2022): 135–46. http://dx.doi.org/10.31098/ijmesh.v5i1.963.

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Rapid technology advancements, particularly social media Instagram, have brought people’s daily lives and urban environments into the domain of visual culture. Instagram’s young users are presently sharing motivational quotes adopted in activities and work with the use of a skyscraper as a background. The trend of encouraging quotes and skyscaraper photographs exemplifies the community’s orientation, which refers to a lifestyle or a typical phenomenon of Indonesian urban culture. This article intends to investigate the image of society by using Instagram to post encouraging phrases and patterns of space production-consumption using images of buildings taken by young people. The method of social semiotics was employed in this article with qualitative approach. Guy Debord’s Spectacle of Society (1967) theory and the postmodernist perspective are also discussed. Instagram creates a dichotomy with its picture of modern society and stunning metropolitan areas. Consumption and self-commodification are discussed in the context of capitalism through artistically potrayed public life performances on Instagram. As a result, a new concept of conflicting urban spaces emerges. On the one hand, an idealized portrayal of communal life and urban space exists, while the other side of a city with dense populations is ignored. This study is limited the social media platform Instagram and the Jakarta metropolitan area in Indonesia. There has never been a conversation about the convergence of urban settings with social media as a spectacle before.

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Jurković, Željka, Željko Koški, and Danijela Lovoković. "PEDESTRIAN BRIDGES AS ELEMENTS OF THE NEW URBAN IDENTITY OF CITIES." Elektronički časopis građevinskog fakulteta Osijek 12, no. 22 (July 30, 2021): 14–28. http://dx.doi.org/10.13167/2021.22.2.

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By the start of the 21st century, the majority of the world’s population was living in cities. Therefore, a top priority has been solving the problem of connecting parts of the city divided by traffic infrastructure in the shortest possible manner by using pedestrian paths. The aim of this study was to analyze, systematize, and typologically define the specific types of structures that make this possible, specifically pedestrian bridges located above roads and railway corridors. The primary and secondary requirements that must be met when designing a pedestrian bridge were identified, and an analysis and comparison of examples of constructed pedestrian bridges in Croatia and the world are herein presented. The results of this study enable the conclusion that, in recent times, in the age of the spectacle society and spectacle architecture, pedestrian bridges are simultaneously deemed architecture, engineering, and infrastructure projects. They are becoming new elements in a city’s image and contribute to the creation of a new urban identity. The original design of pedestrian bridges fosters the use of different construction systems and materials in accordance with technical and technological advancements in construction.

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Posado, Thomas. "Rafael Uzcátegui, Venezuela : révolution ou spectacle ?" Cahiers des Amériques latines 2011/3, no. 68 (December 31, 2011): 181–85. http://dx.doi.org/10.4000/cal.571.

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Kennedy, T. Frank, and Frederick Hammond. "Music and Spectacle in Baroque Rome: Barberini Patronage under Urban VIII." Sixteenth Century Journal 27, no. 1 (1996): 297. http://dx.doi.org/10.2307/2544371.

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Hudon, William V., and Frederick Hammond. "Music and Spectacle in Baroque Rome: Barberini Patronage under Urban VIII." Sixteenth Century Journal 26, no. 4 (1995): 947. http://dx.doi.org/10.2307/2543812.

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Harness, Kelley, and Frederick Hammond. "Music & Spectacle in Baroque Rome: Barberini Patronage under Urban VIII." Notes 53, no. 1 (September 1996): 49. http://dx.doi.org/10.2307/900288.

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Hammond, Frederick, and Joseph P. Byrne. "Music and Spectacle in Baroque Rome: Barberini Patronage under Urban VIII." History: Reviews of New Books 24, no. 1 (July 1995): 29. http://dx.doi.org/10.1080/03612759.1995.9949183.

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Bishop, Ryan, and John W. P. Phillips. "The Urban Problematic II." Theory, Culture & Society 31, no. 7-8 (December 2014): 121–36. http://dx.doi.org/10.1177/0263276414557045.

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This article provides a framework by way of introduction to the special section, ‘The Urban Problematic II’. It introduces a new selection of papers contributing to the continuing project of interrogating concepts, processes and practices associated with contemporary forms of urban life. The article focuses in particular on the problem of infrastructure in relation to questions of urban politics and especially remarks on the emergence of a kind of thinking in which the separation of notions of material infrastructure from those of the social or cultural sphere can no longer be usefully maintained. The essays in the section cumulatively address the issue of an emergent hybridity of urban elements: the virtual and the material, the social and the technical, the political and the instrumental, the vertical and the horizontal. The spectacle of contemporary political activism and dissent emerges in the transformation of social and urban space.

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Min, Joosik. "Politicization of sensibility: The spectacle effect of colonial empire in the 1930s Seoul." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 95–112. http://dx.doi.org/10.5937/saj1501095m.

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This paper aims to analyse the phenomena of the consumption culture in terms of the spectacle effects of the colonial empire, which were unprecedented prosperity in the 1930s in Seoul. The phenomena could be interpreted as the politicization of sensuality. The spatial change intensified the colonial differentiation of city that was segregated into the Southern Village for Japanese and the Northern Village for Koreans. It facilitated the modern homogenization of the urban space. Especially, department stores were invigorated as a powerful apparatus for consumer capitalism, inviting Koreans to Japanese street, transcending the spatial border of the colonial segregation. Manipulating the exhibition techniques of department store, Japanese Empire built up the visually attractive self-representation image, encouraging the colonized to experience the fascination of modem urban culture as crowds or spectators in the street. The spectacle of the Empire made new lines of cultural distinction based on the differentiation of social stratum inside the colonized community.

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Romey, John. "Songs That Run in the Streets." Journal of Musicology 37, no. 4 (2020): 415–58. http://dx.doi.org/10.1525/jm.2020.37.4.415.

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In the second decade of the eighteenth century, the Parisian théâtres de la foire (fairground theaters) gave birth to French comic opera with the inception of the genre known as comédie en vaudevilles (sung vaudevilles interspersed between spoken dialogue). Vaudevilles were popular songs that “ran in the streets” and served as vessels for new texts that transmitted the latest news, scandals, and gossip around the city. Already in the seventeenth century, however, the Comédie-Italienne, the royally funded troupe charged with performing commedia dell’arte, began to create spectacles that incorporated street songs from the urban soundscape. In the late seventeenth century all three official theaters—the Comédie-Italienne, the Comédie-Française, and the Opéra—also infused the streets with new tunes that transformed into vaudevilles. This article explores the contribution of the nonoperatic theaters—the Comédie-Française and the Comédie-Italienne—to the vaudeville repertoire to show the ways in which theatrical spectacle shaped a thriving popular song tradition. I argue that because most theatrical finales were structured around many repetitions of a catchy strophic tune to which each actor or actress sang one or more verses, a newly composed tune used as a finale had an increased probability of transforming into a vaudeville. Some of the vaudevilles used in early eighteenth-century comic operas therefore originated in newly composed divertissements for the late seventeenth-century plays presented at the nonoperatic theaters. Other vaudevilles began as airs from operas that were also absorbed into the tradition of street song. By the early eighteenth century, fairground spectacles drew from a dynamic repertory of vaudevilles amalgamated from the most voguish tunes circulating in the city. The intertwined relationship of the popular song tradition and theatrical spectacle suggests that the theaters helped to mold the corpus of vaudevilles available to street singers, composers, and playwrights.

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Royal, Camika, and Vanessa Dodo Seriki. "Overkill: Black Lives and the Spectacle of the Atlanta Cheating Scandal." Urban Education 53, no. 2 (December 20, 2017): 196–211. http://dx.doi.org/10.1177/0042085917747099.

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This article examines the 2015 Atlanta cheating scandal trials and sentencing. Using critical race theory, the authors argue that cheating is a natural outgrowth of market-based school reform and that racial realism will always lead to scrutiny of Black performance. The sentences of these Black educators is overkill, rooted in anti-Blackness, and can be best understood as a means of preserving Whiteness as property.

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Roe, Jeremy M. N. "Re-reading the acclamation of John IV of Portugal in Cochin 1641 as urban spectacle and literary text." Culture & History Digital Journal 11, no. 2 (November 16, 2022): e020. http://dx.doi.org/10.3989/chdj.2022.020.

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The primary focus of this study is Agostinho de Almeida Gato’s extensive account of the celebrations held for the acclamation of John IV of Portugal in 1641 in Cochin. Drawing on studies of the Iberian monarchies as polycentric spaces, intellectual culture in the Estado da Índia and the historiography of early modern Iberian festival culture Gato’s text is analysed as both a testimony to the spectacle that was staged in Cochin and a text addressed to John IV in Portugal. Concerning the history of Cochin, and Portuguese India more broadly, it is argued that the spectacle of kingship staged by the festivities sought to underscore the significance of the oath of loyalty sworn by the population of Portuguese Cochin and address the interweaving of the concerns of the imperial, colonial and indigenous elites. Furthermore, consideration is given to how Gato’s account served as a form of a petition to the king.

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Lee, Ana Paulina. "Urban Sorcery, Segregation, and Ethnographic Spectacle in Twentieth-Century Rio de Janeiro." Luso-Brazilian Review 58, no. 2 (2022): 118–43. http://dx.doi.org/10.3368/lbr.58.2.118.

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Dunn, Katrina. "Spawning in Concrete: Bridging Urban and Wild with Uninterrupted: A Cinematic Spectacle." Canadian Theatre Review 182 (March 1, 2020): 45–50. http://dx.doi.org/10.3138/ctr.182.009.

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West, Shearer. "Virtual Reality Avant la Lettre: Loutherbourg and the Origins of Urban Spectacle." Nineteenth Century Theatre and Film 46, no. 2 (July 8, 2019): 119–35. http://dx.doi.org/10.1177/1748372719860374.

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Michael Booth's essays and books on Victorian theatre provided a formative and comprehensive set of scholarly works examining the origins of realism on the Victorian stage. Using Booth's arguments about the evolution of theatrical realism, this essay probes the notion of virtual reality and its impact on the spectator to examine the Eidophusikon – an invention of the artist, scene designer and engineer, Philippe Jacques de Loutherbourg. This essay examines this phenomenon in terms of how the urban spectacle plays out within it, the fundamental role of technology and science in its success, and the paradoxical play of realism and imagination in how his work was received by audiences experiencing its immersive effects in the age of panoramas and post-Newtonian ideas of light, sight and viewing.

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Bell, Sinclair W. "Horse Racing in Imperial Rome: Athletic Competition, Equine Performance, and Urban Spectacle." International Journal of the History of Sport 37, no. 3-4 (March 3, 2020): 183–232. http://dx.doi.org/10.1080/09523367.2020.1782385.

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Binkley, Sam. "Inventado: Between Transnational Consumption and the Gardening State in Havana's Urban Spectacle." Cultural Studies ↔ Critical Methodologies 9, no. 2 (December 31, 2008): 321–44. http://dx.doi.org/10.1177/1532708608321394.

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Arboleda, Pablo. "Book review: The Dead City: Urban Ruins and the Spectacle of Decay." Urban Studies 55, no. 13 (August 16, 2018): 3048–50. http://dx.doi.org/10.1177/0042098018786380.

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Edwards, John. "Enemies in the Plaza: Urban Spectacle and the End of Urban Culture, 1460–1492, by Thomas Devaney." English Historical Review 132, no. 554 (February 2017): 128–30. http://dx.doi.org/10.1093/ehr/cew405.

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Fairman, Deborah. "The Landscape of Display: The Ashcan School, Spectacle, and the Staging of Everyday Life." Prospects 18 (October 1993): 205–35. http://dx.doi.org/10.1017/s0361233300004919.

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With the late-19th-Century rise of the metropolis came new ways of seeing in the American city. Observers attempting to decipher the “mysteries” of an urban landscape radically transformed by industrial and mercantile capitalism responded in a variety of ways: some chose to portray the “underside” of the city, some its expansive beauty, others its vast and disorienting scale. But what these different perspectives share is an assumption that one can comprehend and order the sprawling urban scene through a knowledge and experience predicated on sight; to “see” the city is, quite literally, to understand it.

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Gerrard, Jessica, and David Farrugia. "The ‘lamentable sight’ of homelessness and the society of the spectacle." Urban Studies 52, no. 12 (July 17, 2014): 2219–33. http://dx.doi.org/10.1177/0042098014542135.

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Ingrassia, Brian M. "Speed Attractions: Urban Mobility and Automotive Spectacle in Pre-World War I Amarillo." Southwestern Historical Quarterly 123, no. 1 (2019): 60–86. http://dx.doi.org/10.1353/swh.2019.0051.

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Lindgren, Lowell. "Music and Spectacle in Baroque Rome: Barberini Patronage under Urban VIII. Frederick Hammond." Journal of Modern History 68, no. 3 (September 1996): 714–16. http://dx.doi.org/10.1086/245375.

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Ehrlich, Joshua R., Nick Kourgialis, and David S. Friedman. "Impaired Visual Acuity and Spectacle Ownership of Urban Migrant Children in Eastern China." JAMA Ophthalmology 133, no. 12 (December 1, 2015): 1406. http://dx.doi.org/10.1001/jamaophthalmol.2015.3664.

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Muise, Del. "H. V. Nelles. The Art of Nation-Building: Pageantry and Spectacle at Quebec’s Tercentenary." Urban History Review 31, no. 1 (September 2002): 70–72. http://dx.doi.org/10.7202/1015888ar.

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Echinard, Pierre. "L'espace du spectacle à Marseille, deux siècles d'évolution." Méditerranée 73, no. 2 (1991): 39–46. http://dx.doi.org/10.3406/medit.1991.2716.

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Échinard, Pierre. "Le spectacle, élément majeur de la culture marseillaise." Méditerranée, no. 114 (September 1, 2010): 19–25. http://dx.doi.org/10.4000/mediterranee.4198.

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Barskova, Polina. "The Spectacle of the Besieged City: Repurposing Cultural Memory in Leningrad, 1941–1944." Slavic Review 69, no. 2 (2010): 327–55. http://dx.doi.org/10.1017/s0037677900015023.

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Focusing on less studied areas of the twentieth-century war experience, this article investigates the notions of “urban beauty” and “urban spec-Slavic Review 69, no. 2 (Summer 2010) tacle” as experienced by the residents of besieged Leningrad. Polina Barskova suggests that, via an estrangement effect, the siege gaze replaces the unrepresentable traumatic experience of presentnesswith an aestheticized cultural past containing such useable notions of cultural memory as ruin, stage set, monument, and frame. This replacement can be described as a siege urbanscape sublime, a sublime lying not in the distinction between the horrific and the beautiful but rather in the observer's tendency to substitute the horrific with the beautiful. This particular species of sublime aims at psychological anesthesia and is thoroughly oxymoronic: the intense clashing of opposites—to the point that oxymoronic sensibility leads to rhetorical confluence—alerts us to the connection between the aesthetic discourse of besieged Leningrad and the perennial Petersburg text, thus opening new opportunities for the study of the functioning of cultural memory in Soviet society.

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