For this creative project, I am exploring alternate methods of navigating urban environments, and ways in which this activity can inspire creativity. This process is intended to create a new awareness of the urban landscape, break out of the prescribed, and to inspire innovation. The range of possibilities for this way of navigating is vast, and part of the challenge of my experience has been defining boundaries, assigning variables, and using strategies for exploration – making my process inherently morphological. I hope that my work here will encourage others to step out of their comfort zone and experience their environment in a new way.

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[pt] O presente trabalho está inserido no debate acerca da participação social como condição intrínseca para a intervenção urbanística na construção de cidades sustentáveis. Visando colaborar com o planejamento participativo, este trabalho tem como objetivo geral experimentar a eficácia dos mapas mentais como ferramenta de expressão da população local sobre o espaço urbano da favela. A partir de uma pesquisa em torno da Internacional Situacionista, grupo de artistas, pensadores e ativistas europeus que, contrários ao racionalismo urbano da Carta de Atenas, lutavam pela participação ativa de todos os cidadãos nos diversos campos da vida social mediante a experimentação de novas metodologias de apreensão do espaço urbano, busca-se apresentar outras possibilidades de estudar a cidade com base na relação entre a metodologia situacionista e a participação dos habitantes. Em seguida, pretende-se refletir sobre o papel do urbanista no planejamento urbano contemporâneo e algumas teorias dos inicios da pôs-modernidade que busca-ram incluir á população local e compreender mediante observações diretas as diferentes práticas urbanas em oposição a impor teorias de planejamento rígidas e inquestionáveis. Logo, busca-se experimentar a aplicação dos mapas mentais, adotando-se como estudo de caso uma favela em Duque de Caxias para uma análise baseada na experiência de pesquisa participante. Por fim, são alcançadas conclusões em relação à metodologia aplicada em base à eficácia da utilização dos mapas mentais como ferramenta de trabalho em busca de uma construção do espaço urbano a partir da participação ativa dos moradores locais no processo. / [en] Referring to sustainable cities seems to be conceivable in a model or paradigm which recognizes the importance of including in our practices a continuous reflection of the different impacts in life conditions of all the inhabitants of our territory. If urban planner s aim is projecting spaces that transform positively how people experience the question is how it could be possible to comprehend inhabitants perception and how this could affect their participation as active citizens. In the actual world in which neoliberalism ethic of an intense individualism, which wants everything for it and can transform in a socialization model of human personality (Harvey, 2014, p.47) ideals of urban identity, citizenship and belonging turn into a more difficult way to feed into. This work inscribes under the debate about social participation development and presents this topic as an inherent condition for sustainability cities. In Brazil, since the guidelines which express social function of urban propriety in the urban plan of 1988, the approval of the Estatuto da cidade in 2001 and the inscription in the law of several participation instrument mechanisms, the space has been open for the local population to participate in the urban development at different scales. The general objective of this work is to explore mental maps as an opportunity to inhabitants express themselves in order to understand the different perceptions in a city and the connection with the geographical environment as a way of comprehending it s linking with urban participation. Connected with this general objective, in each chapter the following goals were established.

This research strives to characterize the means by which video game players experience and understand the space of the game city during the course of play. Three-dimensional video game cities are neither static environments nor stationary views; rather, they are experienced through movement, action, and play. Our experiences of new places are not developed at a glance. Instead, they are cultivated through use over time. This work utilizes games that take place in constructed versions of New York City as a case study. By focusing on the ways players navigate spaces, we can understand how they construct spatial awareness and how this space is transformed into a meaningful place of play. In order to come to this understanding, this study asks a series of questions: How are these spaces arranged? How does the player move through the space and how does the game teach spatial navigation? What actions are performed in the space and how is gameplay adapted for the city environment? And how do of narrative environments contribute to a player's identification with the space? These questions are examined within a framework of urban, cultural, and game studies. I examine techniques that are employed by video game city designers to help players navigate space and make it meaningful. Additionally, this research poses areas for future expansion and experimentation with game cities.

New spaces open up when you lose someone. A disappearance is the beginning of an emergence. This project is about mourning the loss of my nai nai (paternal grandmother in Mandarin) and the spaces that have opened up during the process. Through personal experience and by mapping my psychogeography of the place where I grew up with nai nai, Visättra, this project deals with the meaning of places, memories and objects. I have worked with the translation between immaterial and material things while reflecting on contemporary questions such as: attachment to places and objects, highlighting placeness that is entangled with culture, identity and politics, and situating a subjective experience in a larger narrative. What happens to the places that are attached to the memories of a person after their death? What kind of new places are born out of grief and loss? How are they manifested through different scales—from the personal to the universal and the psychological to the geographical? I have explored my questions intuitively along with theoretical frameworks followed by a process of tracing, collecting, translating and recreating carriers of memories, revealing scenes of a dichotomy between brokenness and wholeness—from then to now and from there to here.

No description available.

Au XXIème siècle, l’image de la mondialisation, terme déjà problématique, est a priori paradoxalement corollaire d´une élévation croissante de barrières de séparation. Nous nous focalisons sur l'interprétation artistique qui en découle, considérée elle-même au sein de notions géopolitique, psychogéographique et historique. Comment et pourquoi l´objet-mur ferait-il réfléchir les artistes ? Dans un premier temps, le développement historique signale à grands traits les caractéristiques et contextes de notre objet phénoménal. Ensuite, la phénoménologie effective se réfère initialement au mur de Berlin pour une éventuelle métaphore des deux autres objets-murs étudiés : celui d´Israël et de la Palestine, et celui situé entre le Mexique et les États-Unis. Le registre du réel s'entend par la souveraineté des États, celui du symbolique par l'attachement au territoire et à l'identité culturelle et celui de l'imaginaire par le rapport à l'autre et à soi-même. La confrontation de la frontière (limologie) associée à la stratégie du mur (teichos), révélerait un déséquilibre des principes mêmes de l´universalité. Finalement, la mondialisation en tant qu´échange d´intérêts est celle qui favoriserait l´existence de l´objet-mur ; et une perception hyperréelle de l´objet serait davantage du fait des artistes étrangers au phénomène. / In the 21st century our image of a globalized world seems a priori paradoxical to the heavy increase in barriers designed to create or maintain divisions. We will focus on the artistic interpretation resulting from this paradox in the context of geopolitics, history and social situation. How and why the Wall should make think the artists? In a first step, historical development broadly reports the features and contexts of our phenomenal object. Then, effective phenomenology mainly refers to the Berlin Wall; this for an eventual metaphor to the two others studied objects-walls: the one located in Israel and Palestine, the other located between Mexico and the United States. Understanding of the Real is qualified by the sovereignty of States, understanding of the Symbolic via territory and cultural identity, and the realm of the Imaginary by the relationship with others and with oneself. The confrontation to the border (limologie) related to the strategy of the wall (teichos), would reveal an imbalance of principles of universality. Eventually, globalization as an exchange of interests is the one that would promote the existence of the object-wall; and a hyperreal perception of the object would be more the result from artists foreign to the phenomenon.

Esta pesquisa aborda as condições da produção do espaço urbano e sua imagem a partir da realização da Copa do Mundo de Futebol da Fédération Internationale de Football Association (FIFA) de 2014, e as contradições entre elas. Para tal, recorre, sobretudo, às bases teóricometodológicas advindas de Henri Lefebvre, Guy Debord e outros membros da Internacional Situacionista (IS), bem como a Karl Marx e Robert Kurz. As cidades sede da Copa de 2014, mais notadamente São Paulo, Rio de Janeiro e São Lourenço da Mata/Recife, constituem o espaço de análise para compreender as relações entre Estado e capital, bem como suas formas de efetivação no cotidiano e no espaço. Em busca de desvendar o papel do Estado na reprodução (crítica) do capitalismo, foram analisadas as leis federais voltadas para a Copa de 2014; a carta de crédito do Banco Nacional de Desenvolvimento Econômico e Social (BNDES) destinada à construção das arenas; o Regime de Diferenciado de Contratações Públicas (RDC); as Parcerias Público-Privadas; e os Certificados de Incentivo ao Desenvolvimento (CID) concedidos pela prefeitura de São Paulo. Os resultados e consequências desse processo efetivam-se na espacialidade urbana e em seu cotidiano por meio de estratégias como, por exemplo, FIFA Fan Fest,smart city,naming right,áreas de restrição comercial, crime por marketing de emboscada,ranking de cidadesmarcas, direitos de imagem e de marketing da FIFA. Diante disso irrompe a hipótese de que a produção do espaço espetaculariza-se, e a cidade torna-se cenário na medida em que sua imagem é produzida e comercializada autonomizada de seus conteúdos e contradições. Reduzida a cenário, a cidade vê-se diante de novos processos de fragmentação e segregação, o que possibilita avançar na compreensão de novos negócios com o urbano e sua paisagem. / This research approaches the conditions and contradictions between the production of urban space and its image, based on the FIFAs Football World Cup 2014 event. For this purpose, uses the theoretical and methodological bases arising from Henri Lefebvre, Guy Debord and other members of the Situationist International, as well as Karl Marx and Robert Kurz. The Cup host cities in 2014, especially Sao Paulo, Rio de Janeiro and São Lourenço da Mata/Recife, constitute the scope of analysis to understand the relations between state and capital as well as their ways of realization in daily life and space. Seeking to unravel the States role in the (critical) reproduction of capitalism, we have analyzed the Federal Laws aimed at the 2014 World Cup, the BNDESs line of credit granted for the construction of the World Cup stadiums; the Differentiated Contracting Regime; the Public-Private Partnerships; and the Development Incentive Certificates granted by São Paulos City Hall. The results and consequences of this process are materialized in urban spatiality and in daily life through strategies such as the FIFAs Fan Fests; smart city; naming right; areas of trade restraint; crime of ambush marketing; ranking city-brands; FIFAs image rights and marketing rights. In light of this arises the hypothesis that the production of space becomes spectacular, and the city becomes scenario to the extent that its image is produced and marketed autonomized of its contents and contradictions. Reduced to scenario, the city faces new processes of fragmentation and segregation, which enables us to a better understanding of the new business with the urban and its landscape.

當代英國小說家吉姆‧克雷斯 (Jim Crace) 在《阿卡迪亞》(Arcadia, 2008)這部城市小說中，以一位隱身人群的專欄作家為敘述者，從城市居民的心理為出發點描寫城市空間，並以傳統露天市場被改建為一現代化購物商場之事件為主軸，刻劃城市居民經歷生存空間遭強制改變的衝擊之後，仍然找到適應的方式和創造空間運用的可能性。本文主要採取甄克斯 (Chris Jenks) 對城市漫遊者 (flâneur) 的論述，以及情境主義的心理地圖 (psychogeography)、漂移 (dérive)、異軌 (détournement)、及景觀 (spectacle) 的理論概念，剖析克雷斯如何以都市漫遊文本，呈現人和空間的互動，凸顯城市居民和其生存空間實為一生生不息的有機體，並揭露都市空間規劃背後暗藏視覺操縱，藉以反對空間商品化和景觀化。論文第一章主要借助甄克斯的都市漫遊者論述以及情境主義的心理地圖和漂移理論，闡述小說敘述者打破心理和地理的界線，以不同的人物心理呈現一幅城市拼貼。第二章以異軌理論為出發點，闡釋此小說將阿卡迪亞的文學概念和都市公共空間議題並置，一方面解構溫室和商場中的鄉村實為自然的複製品，另一方面強調城市生命力在於多樣性以及居民與空間的互動。第三章援引情境主義的景觀概念，著重討論社會關係和城市的空間生產被資本主義塑造的景觀所滲透控制，並強調敘述者以漂移和異軌的空間實踐與其對抗之外，也刻劃了都市居民在景觀的控制之下，仍然找到新的出口，保有空間運用的自主性。 / Jim Crace’s novel Arcadia delineates a city from the perspective of human mentality by means of an incognito critical social observer. The displacement of a modernized shopping mall for a traditional open market is the most important incident that causes a great impact upon the urban people. In this thesis, I would like to use Chris Jenks’ analysis of the flâneur and situationist concepts of psychogeography, dérive, détournement, and the spectacle to analyze how Crace presents the interaction between man and space which is threatened by the visual manipulation hidden behind urban planning. He also points out that urban inhabitants and their living environment form an organic whole that will keep evolving through their mutual influence. Applying Jenks’ discussion on the flâneur and situationist concepts of psychogeography and dérive, I would first show that Crace breaks the boundary between psychology and geography to present a collage of different interpretations based upon several characters’ mentalities. Then, the construction of the new shopping mall named Arcadia brings up the juxtaposition of the topos Arcadia and the issue of urban public space. With the practice of détournement, the narrator deconstructs the countryside in the shopping mall as the duplication of nature and emphasizes that the life of the city does not reside in the spectacular sites but in diverse and mutual interactions between urban space and its inhabitants. With spatial practices of dérive and détournement, the narrator not only criticizes that both social relationship and urban space are saturated with separation caused by the spectacle, but also makes known that urban people still hold the autonomy of creating alternative spatial use even under the dominant representation of the spectacle in the city.

Esta pesquisa aborda as condições da produção do espaço urbano e sua imagem a partir da realização da Copa do Mundo de Futebol da Fédération Internationale de Football Association (FIFA) de 2014, e as contradições entre elas. Para tal, recorre, sobretudo, às bases teóricometodológicas advindas de Henri Lefebvre, Guy Debord e outros membros da Internacional Situacionista (IS), bem como a Karl Marx e Robert Kurz. As cidades sede da Copa de 2014, mais notadamente São Paulo, Rio de Janeiro e São Lourenço da Mata/Recife, constituem o espaço de análise para compreender as relações entre Estado e capital, bem como suas formas de efetivação no cotidiano e no espaço. Em busca de desvendar o papel do Estado na reprodução (crítica) do capitalismo, foram analisadas as leis federais voltadas para a Copa de 2014; a carta de crédito do Banco Nacional de Desenvolvimento Econômico e Social (BNDES) destinada à construção das arenas; o Regime de Diferenciado de Contratações Públicas (RDC); as Parcerias Público-Privadas; e os Certificados de Incentivo ao Desenvolvimento (CID) concedidos pela prefeitura de São Paulo. Os resultados e consequências desse processo efetivam-se na espacialidade urbana e em seu cotidiano por meio de estratégias como, por exemplo, FIFA Fan Fest,smart city,naming right,áreas de restrição comercial, crime por marketing de emboscada,ranking de cidadesmarcas, direitos de imagem e de marketing da FIFA. Diante disso irrompe a hipótese de que a produção do espaço espetaculariza-se, e a cidade torna-se cenário na medida em que sua imagem é produzida e comercializada autonomizada de seus conteúdos e contradições. Reduzida a cenário, a cidade vê-se diante de novos processos de fragmentação e segregação, o que possibilita avançar na compreensão de novos negócios com o urbano e sua paisagem. / This research approaches the conditions and contradictions between the production of urban space and its image, based on the FIFAs Football World Cup 2014 event. For this purpose, uses the theoretical and methodological bases arising from Henri Lefebvre, Guy Debord and other members of the Situationist International, as well as Karl Marx and Robert Kurz. The Cup host cities in 2014, especially Sao Paulo, Rio de Janeiro and São Lourenço da Mata/Recife, constitute the scope of analysis to understand the relations between state and capital as well as their ways of realization in daily life and space. Seeking to unravel the States role in the (critical) reproduction of capitalism, we have analyzed the Federal Laws aimed at the 2014 World Cup, the BNDESs line of credit granted for the construction of the World Cup stadiums; the Differentiated Contracting Regime; the Public-Private Partnerships; and the Development Incentive Certificates granted by São Paulos City Hall. The results and consequences of this process are materialized in urban spatiality and in daily life through strategies such as the FIFAs Fan Fests; smart city; naming right; areas of trade restraint; crime of ambush marketing; ranking city-brands; FIFAs image rights and marketing rights. In light of this arises the hypothesis that the production of space becomes spectacular, and the city becomes scenario to the extent that its image is produced and marketed autonomized of its contents and contradictions. Reduced to scenario, the city faces new processes of fragmentation and segregation, which enables us to a better understanding of the new business with the urban and its landscape.