Richard Sennett at GSD tonight

 

 
When

Tuesday, February 28
06:30pm – 08:00pm

Where

Piper Auditorium, Gund Hall, 48 Quincy Street, Cambridge, MA

Event Description

“The theme of the lecture addresses a question: how can we design spaces in the city which encourage strangers to cooperate?  To explore this question, I’ll draw on research in the social sciences about cooperation, based on my book, and relate this research to current issues in urban design.”

Richard Sennett, a faculty member at New York University and the London School of Economics, is the 2012 Senior Fellow of the Loeb Fellowship Program.

“A Brief Biography” (from Richard Sennett’s website)

“Richard Sennett has explored how individuals and groups make social and cultural sense of material facts — about the cities in which they live and about the labour they do. He focuses on how people can become competent interpreters of their own experience, despite the obstacles society may put in their way. His research entails ethnography, history, and social theory. As a social analyst, Mr. Sennett continues the pragmatist tradition begun by William James and John Dewey.

His first book, The Uses of Disorder, [1970] looked at how personal identity takes form in the modern city. He then studied how working-class identities are shaped in modern society, in The Hidden Injuries of Class, written with Jonathan Cobb. [1972] A study of the public realm of cities, The Fall of Public Man, appeared in 1977; at the end of this decade of writing, Mr. Sennett sought to account the philosophic implications of this work in Authority [1980].

At this point he took a break from sociology, composing three novels: The Frog who Dared to Croak [1982], An Evening of Brahms [1984] and Palais Royal [1987]. He then returned to urban studies with two books, The Conscience of the Eye, [1990], a work focusing on urban design, and Flesh and Stone [1992], a general historical study of how bodily experience has been shaped by the evolution of cities.

In the mid 1990s, as the work-world of modern capitalism began to alter quickly and radically, Mr. Sennett began a project charting its personal consequences for workers, a project which has carried him up to the present day. The first of these studies, The Corrosion of Character, [1998] is an ethnographic account of how middle-level employees make sense of the “new economy.” The second in the series, Respect in a World of Inequality, [2002} charts the effects of new ways of working on the welfare state; a third, The Culture of the New Capitalism, [2006] provides an over-view of change. Most recently, Mr. Sennett has explored more positive aspects of labor in The Craftsman [2008], and in a study of cooperation to appear in 2012.”

Contact

events@gsd.harvard.edu

Crowd at the 1893 World’s Columbian Exposition

Image

I’m currently working on a short paper about picnics at world’s fairs and I just came across an impressive picture of a crowd at the 1893 Chicago World Expo.

Reference: World’s Columbian Exposition, Photographs of the World’s Fair; an elaborate collection of photograph’s of the buildings, grounds and exhibits of the World’s Columbian Exposition, with a special description of the famous Midway plaisance. Chicago: Werner Co, 1894, p. 39.

CFP: CSAA 2012 – Materialities: Economies, Empiricism, & Things

Cultural Studies Association of Australasia annual conference 2012

Hosted by the Department of Gender & Cultural Studies, University of Sydney

Dec 4th-6th (pre-fix pre-conference Dec 3rd)

‘Materialities: Economies, Empiricism, & Things’

Organising committee: Fiona Allon, Prudence Black, Catherine Driscoll,
Elspeth Probyn, Kane Race& Guy Redden.

Call for Papers

Cultural studies has a long history of investigating material practices –
indeed it was a founding tenet of British cultural studies – but recently a
new turn or return to materialism seems to be emerging in the field.  What
this materiality now means is still open, but we suggest that it flags a
renewed interest in questions of how to study cultural objects,
institutions and practices (methods), what constitutes matter and
materiality (empiricism), and how things (humans and non-humans) are being
reworked at a time of global economic, environmental and cultural flux.

Our keynotes haveall directed critical attention to these questions – to
the more-than-human, to new philosophies of matter, to the gendered
material and economic circuits of media, and to ‘the heavy materiality of
language’. We have invited them to help us in reinvigorating what cultural
studies can do today. They include: Ross Chambers (Michigan), Katherine
Gibson (UWS), Lesley Head (UoW), Bev Skeggs (Goldsmiths, London), and Sarah
Whatmore (Oxford).

We encourage proposed panels and individual papers that engage with the
wide spectrum of issues flagged by our title, including submissions that
focus on:
· the crossing of science studies and cultural studies;
· questions of method;
·the relation between culture and economy;
· cultural histories of objects and forms;
· new ideas about empiricism;
· placing sexuality, gender and race within the more-than-human;
· the materiality of texts and genres;
· the future and the past of material cultural studies;
· environmental humanities and changing ecologies;
· cultural studies within the anthropocene;
·cultural relations with/in primary and natural resources;
· the new materiality of globalism
Papers and panels not focusing on the theme are also welcome.

Please send submissions to csaa.2012@gmail.com by August 24th and include
your name and affiliation. Abstracts for papers should be 250-300 words.
Panel submissions must include three individual abstracts, a panel title
and 100-150 word rationale for the panel as a whole.

We will advise all proposers of accepted papers within 4 weeks of this
deadline. Please note that accepted presenters will need to register before
their paper will be scheduled in the program.

There will also be a separate event, “Pre-Fix”, geared to the needs of
postgraduates and early career researchers, on December 3rd. Details of
this and the main conference will be on a dedicated conference website soon.

CSAA website: http://www.csaa.asn.au/
Facebook: https://www.facebook.com/CSAA2012
Twitter: csaa2012

CFP: Making the World Happen: International Events and the Logistics of Globality

CFP: Making the World Happen: International Events and the Logistics of Globality

111th AAA annual meeting, Borders and Crossings, November 14-18, 2012, San Francisco, CA

Paper abstracts are invited for this panel to be submitted to the Society for Urban, National, and Transnational/Global Anthropology (SUNTA).

International events (Olympic Games, World’s fairs, World cups, transnational meetings and conventions) play nowadays a significant role in the creation and densification of global connections for the flow and circulation of people, materials, capital, technologies and ideas. Whereas anthropologists have often paid attention to the symbolic and ideological dimensions of international events, analyses of the institutional, managerial and logistical frameworks of these events have predominantly been economic in orientation with a focus on their overall costs and benefits. Conversely, the recent surge of publications in event management tellingly displays a new corporate interest towards the discipline of cultural anthropology as ethnographic insights are being valued as useful toolboxes in the ongoing management of conflicts and controversies in the context of international events. This panel will bring together ethnographic investigations into the organizational layers of these short-lived global hubs in order to explore in comparative guise their complex assemblages of material and infrastructural configurations that allow for the effectivity of transnational operations.

Submitted proposals for presentations should address one of the following topics:

1. Following controversies: Opening the black box of international events sheds light on the debates and conflicting concerns that emerge between various stakeholders (individual, institutional, international, non-human, etc.) around issues such as design, themes, orientation, outsourcings, public safety, legal harmonizations.

2. Assembling atmospheres: Events designed for the fostering of global connections and the development of international exchange rely on the manufacture of breathable spaces, that is the constitution of artificial climates, spheres of immunity, air-conditioned globalities (Sloterdijk) achieved through an ecology of devices and infrastructures.

3. Spatiotemporal attunements: International events are also anchored upon the existence of “grooved channels” (Geertz, Bestor) that support the engineering of a “ready-made” globalization in order to facilitate the enactment of the daily operations of global connectivity. These include the creation and enforcement of standards that accompanies the transnational extensions in the circulation of materials, people and commodities, the constitution of “obligatory passage points” (Callon), and the establishment of hourly schedules for deliveries, inspections, maintenance, accounting activities, etc.

Please submit the following information to Van Troi Tran (vantroitran@fas.harvard.edu) by Friday, March 16, 2012 for consideration:

Name, Institutional affiliation, Paper title, 250-word abstract, Contact information

Organizers: Van Troi Tran, Sophie Houdart

For more information:

American Anthropological Association: http://www.aaanet.org/

AAA 2012 Annual meeting guidelines and rules for participation: http://www.aaanet.org/meetings/Call-for-Papers.cfm

Society for Urban, National, and Transnational/Global Anthropology: http://sunta.org/


Baudrillard on cinema crowds

An amusing interview by the Cahiers du cinéma republished in Mike Gane (ed.) Baudrillard Live: Selected Interviews, London: Routledge, 1993.

CC Do you go to the cinema alone?

No, not any more. I’ve nothing against it, but cinema is for sharing, all the same. It is rather symbolic: there should be somebody else involved. To be alone, just you and the film, it’s not exactly masturbation, but it’s not right alone, it’s too exclusive. A film should be allowed to have a bit of free play, in the first place on a group of friends, or a second person, and then subsequently on the audience as a whole. That auditorium, all that space, after all, does have a purpose. But to be a single unit in that space seems to me to go against the collective make-believe (I’imaginaire) of the cinema. But I don’t want to be dogmatic. Nor do I like those little avant-garde studio cinemas, those exclusive little cinema clubs for voyeuristic little coteries. I don’t condemn them, but I prefer cinema for the general public. I like the sort of thing you get in the United States—big productions in big cinemas, with big crowds, Hollywood style.

CC Do you think it’s important to see a film from the beginning?

Now, yes, I tend to arrive at the beginning of a film. It’s not a discipline, just one of the rules of the game. But I quite like it when the audience is noisy during a film, hurling abuse. Who said it had all to be solemn? I’ve been in Italian cinemas: it’s all bustle and shouting, lively, a total spectacle. And in Los Angeles too, in those big cinemas, I don’t think it has changed since the thirties, that sort of excitement, thrills, enthusiasm, and then everyday calm.

Sloterdijk Now!

It looks like this book came out in December 2011. Bought it a few days ago, I’ve only read the chapters by Elden and Morin so far good stuff.

Table of contents:

  • Acknowledgements
  • List of Contributors
  • Sloterdijk’s work in German and English translations
  • 1. Worlds, Engagements, Temperaments
  • Stuart Elden
  • 2. Sloterdijk’s Cynicism: Diogenes in the Marketplace
  • Babette Babich
  • 3. From Psychopolitics to Cosmopolitics: The Problem of Ressentiment
  • Sjoerd van Tuinen
  • 4. A Letter on Überhumanismus: Beyond Posthumanism and Transhumanism
  • Eduardo Mendieta
  • 5.The Coming-to-the-World of the Human Animal
  • Marie-Eve Morin
  • 6.A Public Intellectual
  • Jean-Pierre Couture
  • 7.The Language of Give and Take: Sloterdijk’s StylisticbMethods
  • Wieland Hoban
  • 8.Peter Sloterdijk and the Philosopher’s Stone
  • Nigel Thrift
  • 9.Literature in Sloterdijk’s Philosophy
  • Efraín Kristal
  • 10.The Time of the Crime of the Monstrous: On the Philosophical Justification of the Artificial
  • Peter Sloterdijk
  • Notes
  • Index