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Chris Perkins
Martin Dodge

Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. This paper assesses the contribution of visual elements in this,process with a detailed case study of the maps, statistical charts, architectural drawings and photographs enrolled into the 1945 City of Manchester Plan. The cultural production of these visual representations is evaluated. Our analysis interprets the form, symbology and active work of different imagery in the process of reimagining Manchester, but also assesses the role of these images as markers of a particular moment in the cultural economy of the city. This analysis is carried out in relation to the ethos of the Plan as a whole.

Bulletin of the John Rylands Library
Open Access (free)
Governing Precarity through Adaptive Design
Mark Duffield

), Ontopolitics in the Anthropocene: An Introduction to Mapping, Sensing and Hacking ( London : Routledge ). Chouliaraki , L. ( 2013 ), The Ironic Spectator: Solidarity in the Age of Post-Humanitarianism ( Cambridge and Malden, MA : Polity Press ). Cooper , M. ( 2011 ), ‘ Complexity Theory after the Financial Crisis: The Death of Neoliberalism or the Triumph of Hayek? ’, Journal of Cultural Economy , 4 : 4 , 371 – 85 . Corlett , A. ( 2017 ), As Time

Journal of Humanitarian Affairs
Editors: and

There has been increasing interest and debate in recent years on the instituted nature of economic processes in general and the related ideas of the market and the competitive process in particular. This debate lies at the interface between two largely independent disciplines, economics and sociology, and reflects an attempt to bring the two fields of discourse more closely together. This book explores this interface in a number of ways, looking at the competitive process and market relations from a number of different perspectives. It considers the social role of economic institutions in society and examines the various meanings embedded in the word 'markets', as well as developing arguments on the nature of competition as an instituted economic process. The close of the twentieth century saw a virtual canonisation of markets as the best, indeed the only really effective, way to govern an economic system. The market organisation being canonised was simple and pure, along the lines of the standard textbook model in economics. The book discusses the concepts of polysemy , idealism, cognition, materiality and cultural economy. Michael Best provides an account of regional economic adaptation to changed market circumstances. This is the story of the dynamics of capitalism focused on the resurgence of the Route 128 region around Boston following its decline in the mid-1980s in the face of competition from Silicon Valley. The book also addresses the question of how this resurgence was achieved.

Constituting the cultural economy
Fran Tonkiss

6 Between markets, firms and networks: constituting the cultural economy Fran Tonkiss Introduction Cultural and creative sectors have come to represent key areas of growth within a number of regional and national economies, and figure prominently within arguments regarding the increasingly ‘cultural’ character of economic processes and the restructuring of market forms. An emergent cultural economy is also of critical interest for institutional analysis, and for a number of reasons. Firstly, such an analysis addresses very clearly the need to take culture

in Market relations and the competitive process
Sean Nixon

chapter, I explore some of the institutional developments within the advertising industry in the 1950s and 1960s and consider the shape of the agency sector that emerged from within a buoyant national advertising market and a booming cultural economy in London. This was a dynamic period of growth for the advertising industry and I reflect, in particular, on the key players who dominated the industry as it underwent expansion and on the social make-up of the individuals who shaped advertising during this period. Responding to growing domestic demand was not the only

in Hard sell
Imaginary, history and cases Introduction
Andrew Bowman
Ismail Ertürk
Julie Froud
Sukhdev Johal
, and
John Law

following section provides context in the form of a broader political history of the role of 30 year policy experiments in post-­1945 Britain, and shows how competition came to be the cure for British decline. The final section then shifts into political and cultural economy and engages specifics differently as it explains how our three sectoral case studies – ­telecommunications, supermarkets and retail banking – reveal the limits of treatment by competition. The extended case studies are crucial because they show how competition (as policy goal and corporate alibi

in The end of the experiment?
Abstract only
Collecting networks and the museum
Samuel J.M.M. Alberti

to erect in the twentieth century, and the cultural economy of donation encompassed both nature and culture. Acquisition: collecting networks and the museum 113 The routes by which natural and cultural objects arrived at the Museum reflected not only the character of twentieth-century museums (and scholarship), but also the wider social context. The paths of objects reveal much about the politics, local and international. Wars shifted, blocked or enabled particular channels. Here I explored, as other museum historians have, the significance of empire on

in Nature and culture
Douglas Morrey

(1987). Godard’s practice in this period has also led critics to associate him with postmodernism, but, in the middle section of this chapter, I will argue that, even if Godard’s citational aesthetic is in some senses postmodern, his films maintain a critical stance with regard to the post-industrial cultural economy. Finally I will show how Godard continues to search for images of resistance to this economic organisation, and

in Jean-Luc Godard
Lepage and Ex Machina’s futures
Karen Fricker

Ex Machina are also working to cement their position as leaders in Québec’s cultural economies by creating a permanent site for the creation of new projects and the performance of existing repertoire. This more straightforward brand image and the addition of Le Diamant reveal Lepage and Ex Machina’s drive to not just maintain but expand their operations, and to further gird themselves against the instability of the touring market. There are moves which express commitment to the companies’ longevity and to the broader artistic ecosystems in which they function. At

in Robert Lepage’s original stage productions

This book analyses the use of the past and the production of heritage through architectural design in the developmental context of Iran. It is the first of its kind to utilize a multidisciplinary approach in probing the complex relationship between architecture, development, and heritage. It uses established theoretical concepts including notions of globalism, nostalgia, tradition, and authenticity to show that development is a major cause of historical transformations in places such as Iran and its effects must be seen in relation to global political and historical exchanges as well as local specificities. Iran is a pertinent example as it has endured radical cultural and political shifts in the past five decades. Scholars of heritage and architecture will find the cross-disciplinary aspects of the book useful. The premise of the book is that transposed into other contexts, development, as a globalizing project originating in the West, instigates renewed forms of historical consciousness and imaginations of the past. This is particularly evident in architecture where, through design processes, the past produces forms of architectural heritage. But such historic consciousness cannot be reduced to political ideology, while politics is always in the background. The book shows this through chapters focusing on theoretical context, international exchanges made in architectural congresses in the 1970s, housing as the vehicle for everyday heritage, and symbolic public architecture intended to reflect monumental time. The book is written in accessible language to benefit academic researchers and graduate students in the fields of heritage, architecture, and Iranian and Middle Eastern studies.