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Relative pitch: encouraging performance in public spaceSmith, Daniel Elias January 1900 (has links)
Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Laurence A. Clement / Street musicians and performers attract people to
public spaces. These performers, or ‘buskers’ as
they are commonly referred, typically congregate
along specific streets, parks, plazas, and transit
stops in a city. The term pitch describes the place
buskers perform. Pedestrian flow, visibility, and
acoustics are just some of the factors that street
performers consider when selecting a pitch. While
performers resourcefully adapt to the challenges
of different pitches, public spaces often do little
to accommodate performers and their audiences.
William Whyte observed how street performances
facilitate social interactions between strangers and
give character to cities and neighborhoods. Relative
Pitch explores where performances occur and how
they benefit public places.
Case studies of popular busking locations establish
a typology of squares, streets, and transit stops.
Video clip analysis of street performances demonstrates
the spatial relations between performer and
audience. Dimensions and observations from these
case studies provided insight and information for
the application of the typology to proposed sites in
Wichita, Kansas.
Buskers adapt pitches relative to their physical
environment. Point, linear, planar, and volumetric
elements define and articulate temporary stages,
audience space, and circulation paths during
performances. Design proposals for the typology
sites in Wichita illustrate how flexible performance
spaces can be incorporated in squares, streets, and
transit stops. This project looks at ways to activate
public spaces by encouraging street performance.
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Representing Work: What The Office Teaches us about Creativity and the OrganizationCraft, Kevin Ralph 01 January 2008 (has links)
NBC?s situation comedy The Office reflects on the nature of workplace management in the 21st century. The show critiques a corporation that values conformity over individuality, while implying that promoting ?creative? employees to upper management is not credible alternative. The Office does this by focusing on Michael Scott (played by Steve Carell), a character whose unique creative working style makes him a great salesman but a poor manager. Michael?s character stands in contrast to Ryan Howard (played by B.J. Novak), who differs from Michael both in his approach to business and his success at it. The Office implies that creativity is a valuable asset for non-managerial workers, but creative management can be problematic. As workplaces continue to evolve, it is imperative to explore how creativity and bureaucracy co-exist. It may be unrealistic to expect creativity to saturate all aspects of professional life, but striking a balance between creativity and organization might be paramount in assuring job satisfaction and productivity for future generations of employees.
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Freedom of InterpretationIvanov, Georgi 11 May 2012 (has links)
The photographic series Ideal Cities that I started in 2011 is inspired by the conflict between my idea of the “west” and my evolving experience in the United States. What struck me was the popularity of what I see as model experience – a spatial experience controlled by the Spectacle. In the terms of the Situationist International and its most prominent figure Guy Debord, the Spectacle is the collapse of reality into the streams of images, products and activities sanctioned by centralized monopolist business or state bureaucracy. Thus, personal experience is replaced with preconceived notions, which control the way people perceive and understand their surroundings.
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