This book explores contemporary urban experiences connected to practices of sharing and collaboration. Part of a growing discussion on the cultural meaning and the politics of urban commons, it uses examples from Europe and Latin America to support the view that a world of mutual support and urban solidarity is emerging today in, against, and beyond existing societies of inequality. In such a world, people experience the potentialities of emancipation activated by concrete forms of space commoning. By focusing on concrete collective experiences of urban space appropriation and participatory design experiments this book traces differing, but potentially compatible, trajectories through which common space (or space-as-commons) becomes an important factor in social change. In the everydayness of self-organized neighborhoods, in the struggles for justice in occupied public spaces, in the emergence of “territories in resistance,” and in dissident artistic practices of collaborative creation, collective inventiveness produces fragments of an emancipated society.
Manchester: Something rich and strange challenges us to see the quintessential
post-industrial city in new ways. Bringing together twenty-three diverse writers
and a wide range of photographs of Greater Manchester, it argues that how we see
the city can have a powerful effect on its future – an urgent question given how
quickly the urban core is being transformed. The book uses sixty different words
to speak about the diversity of what we think of as Manchester – whether the
chimneys of its old mills, the cobbles mostly hidden under the tarmac, the
passages between terraces, or the everyday act of washing clothes in a
laundrette. Unashamedly down to earth in its focus, this book makes the case for
a renewed imaginative relationship that recognises and champions the fact that
we’re all active in the making and unmaking of urban spaces.
critical or a rationalist perspective, knowing how things work is assumed to reveal how they might work better.
Consistent with the quest for certainty, however, the obduracy of representation lies in its emotional and consolatory significance ( Vattimo, 2014 ). In this regard, the knowledge practices of both rationalists and critical theorists can be no less ritualistic than the superstitions and ceremonial rites displaced by the Enlightenment. Like any religion’s promise of redemption in the next life as compensation for pain and suffering in the present, belief in
nothing – Tim being defiantly materialistic and
John, whose knowledge of literature, mythology, philosophy and religions was as
encyclopaedic as Tim’s in other areas, being barely willing to admit that the material world existed except as spirit in hibernation. It was as if one existed and was
planted in that magnificently lit and folded corner of south Connemara as a foil
and an intellectual sparring partner for the other. They shared a deep love of, and
understanding of, the landscape of Connemara and of ecology generally; a respect
for and dedication to intellectual
the allotment project . www.lucigorellbarnes.co.uk/companion-planting-continuing-the-allotment-project/ (accessed 13 June 2018 ).
Gray , J. ( 2007 ) Black mass: Apocalyptic religion and the death of utopia . London : Macmillan .
Guattari , F. ([orig. French 1989 ] 2000 ) The three ecologies . London : Athlone Press .
Haraway , D. ( 2015 ) Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making kin. Environmental Humanities , 6 , 1 , 159–65 .
Hawkins , H. ( 2015 ) Creative geographic methods: Knowing, representing, intervening
inquirers before the study, but cast the net wide to gather a group of people from various communities and social worlds and allow shared issues to emerge through conversation among them. Place, rather than other forms of social identification, such as class, sexuality, gender, ethnicity or religion, was deployed as a relatively neutral lens through which to gather citizens and form a community of inquiry, ensuring that the academic had minimal control over which citizens’ knowledges were articulated through the project and whose interests it potentially served. As Lake
power is guaranteed and legitimated by religion.
On the one hand, limits are created and established by human existence, but on the other hand there is an irreducible moment in all these limitary phenomena. Such philosophers as Merleau-Ponty and Waldenfels, with a keen interest in the body and its phenomena, have concentrated on thinking about these paradoxical issues. The way they approach borders, thresholds and limits cautiously can be contrasted with the deconstruction and its basic figure, suggesting a transgression of binary oppositions
distribution of power between
the members of this society. And since power can be linked
to economy (including production relations), to education, to
political decision-making, and to the production of meaning (in
culture, the arts, religion etc.), the equal distribution of power is
a very complicated process which will necessarily involve uneven
steps in the different historical conjectures in which emancipation unfolds.
Laclau sates that “any theory about power in a democratic
society has to be a theory about the forms of power which are
compatible with democracy, not
institutional improvement was: “discovering the means by which a scattered, mobile and manifold public may so recognize itself as to define and express its interests” ( Dewey, 1981 , 622).
The key institutions of democracy, to Dewey, were institutions of education. Moreover, he did not see public education as limited to the school and education for democracy comprised “all modes of human association, the family, the school, industry, religion” ( Dewey, 1981 , 621). For Dewey, an educational institution was any institution that would assume the tasks of “producing the habits
seaboard the fusion
of Irish language, traditional rustic lifestyle and predominantly Catholic religion
appealed to nationalists and also to the families of those who had emigrated in
large numbers from the west and to the continuing flow of economic migrants,
who wanted to remember the country as they or their forebears had known
it. Seán Keating, J. Crampton Walker, Laeititia Marion Hamilton, Charles Lamb
and Paul and Grace Henry all produced canvas after canvas in which, to reference Scott, the thatched cottage had become one of the country’s ‘most defining