Parallel Worlds - TU Wien
Transcript of Parallel Worlds - TU Wien
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Gunners and runners
‘When you first arrive to Highbury, you are saying, “Where is the stadium? Where is the stadium?” and then suddenly you are in front of it. You do not know why it is in the middle of the city. You are used to that here, but on the Continent we are not used to that – you see the stadium from three miles away. What I always like in England is that you feel the club belongs to the population around there – you can go out of the door and go to a football game. That does not exist anywhere else’. Arsène Wenger (Manager of FC Arsenal, The Independent, 3 May 2006)
‘When it comes to our essential values – belief in democracy, the rule of law, tolerance, equal treatment for all, respect for
this country and its shared heritage – then that is where we come together, it is what we hold in common. It is what gives us the right to call ourselves British’. Tony Blair (The Guardian, 9 December 2006, extract from a speech by the British prime minister to an invited audience at 10 Downing Street)1
On 12 May 2006, Arsenal, a London football club steeped in tradition which is also known as the Gunners, played its last home game at Highbury Stadium, a venue equally rich in tradition. The name Gunners stems from the site on which the club was founded, the former Royal Arsenal munitions factory in the London suburb of Woolwich near the Thames, which in the nineteenth century was one of England’s most important armaments production facilities. Its riverside location led to the Royal Arsenal becoming the most important military supply centre for the expansion of the British Empire. The factory workers’ football team, which was founded in 1886 at the height of the expansion of the Arsenal into Europe’s largest military industrial complex, represented an extension of military rivalry into civilian rituals of domination. Highbury Stadium, the home of the Gunners from 1913 to 2006, grew up around a playing field situated between gardens and backyards and was integrated seamlessly into the small-scale contours of a Victorian residential neighbourhood, where, on match days, kiosks, take-aways and souvenir stands were unceremoniously set up in front gardens and driveways. Every home game at the ‘Home of Football’ thus constituted an extravagant sta ging of the homeland: an opulent theatre of British culture that spilled out from the stadium into the neighbourhood and was perpet u-ated in numerous myths and legends.
In the weeks leading up to the closure of the stadium, British newspapers such as the Evening Standard and The Guardian devoted entire extra supplements to wist-ful obituaries for this historic London venue: ‘Highbury wasn’t just any stadium, Highbury was a cathedral of football’. The end of ‘Highbury’ also brought to an end the sacral practices with which the stadium was staged as a representation of British community. In Ashburton Grove, 500 metres away from the old venue, there is now a new stadium complex equipped with VIP lounges, luxury restaurants and a multi-media infrastructure that has been co-financed by Emirates, the Saudi Arabian state airline. The switch to the Emirates Stadium was ‘necessary’ in order to be able to continuing competing in the premiere league of global media presence. This transi-tion from a cathedral of football to a cathedral of consumption marks not only a local but also a cultural change: from community-based pubs and fish-and-chip stalls to the comprehensive commercial use of multifunctional stadium structures, from a locally oriented, English working-class culture to a globalized world of flows. The upper end of this transformation is served by the flows of capital, the lower end by the flows of migration. Thus, two geographies of upheaval meet directly at the intersection point constituted by North London’s Finsbury Park: the world of football and the post-colonial world of Islamic cultures in Europe. If the demolition of Highbury Stadium
was mourned as the loss of a piece of British culture, it also constituted the loss of a monument that helped mask the realities around the stadium that had long
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exhibited a different image of ‘Britain today’. Arsenal’s move to the Emirates Stadium did not simply mean that a local population lost ‘its’ urban backyard stadium but that a stadium also lost ‘its’ population.
This atomization of an unambiguous relationship between sociality and space is taking place on two levels simultaneously. One level involves the confrontation of a locally shaped football culture with globally operating finance capital; this includes the purchase of naming rights for the stadium by the Dubai-based Emirates airline as it does the expectations linked with the stadium relating to London’s claim to a place in the league of global cities. The other level concerns the intermixing of an introspective English residential neighbourhood with the networks of the global jihad. Nearby the stadium stands the Finsbury Park Mosque, which was opened in 1990 by Prince Charles and King Fahd of Saudi Arabia, and which, between 1997 and 2003, served as a gathering point for supporters of Islamic extremism inspired by the teachings of the resident radical cleric Abu Hamza al-Masri. It was during the run-up to the Football World Cup in Paris in 1998 that calls were first heard for Abu Hamza to be banned from the Finsbury Park Mosque due to fears of possible terrorist attacks.2 9/11 accelerated the investigation of possible subversive activities connected with the mosque. In January 2003 a raid by British anti-terrorist units uncovered not only fake passports and credit cards but also CS gas, hunting knives and hand guns. Conservative newspapers reacted by describing the mosque as a ‘honey pot for terrorists’ and as an ‘arsenal for Islamic terror’.
After being stripped of his status as an imam, Abu Hamza continued to preach to his supporters in front of the mosque on St. Thomas’s Road, on the very stretch of street used by Arsenal fans on their regular pilgrimage to their stadium. In the spring of 2006, recordings of these street sermons led to Abu Hamza’s arrest and conviction for incitement to racial hatred and incitement to murder. Now under new leadership, the Finsbury Park Mosque – which was renamed the North London Central Mosque in 2005 – currently enjoys a high level of attendance, and the local network of busi-nesses and facilities for immigrants from various parts of the Islamic world is growing rapidly. On match days the Arsenal fans now make their way to ‘their’ club through a multi-ethnic neighbourhood in which more than 120 languages are spoken, passing mosques and Muslim welfare houses, Halal butcher shops, internet cafés, Maghrebi snack bars and cafés with names like Salam, Aladdin and Paradise, specialized travel agents and bed-sit agencies, Islamic bookshops and scarf shops. These concentrated financial and migratory links with the Mahgreb and the Near and Middle East in Finsbury Park have led to a cultural and economic coexistence of religion and football, prayer rituals and pre-match anthems, international financial operations and local street culture. In the encounters and intermixing of English football fans with the migrant population, the urban space becomes a stage for the ambiguities of prosper-ity, legality and security with which the neo-liberal transformation of western society operates. The path that these encounters take is never prescribed, for outside an accidental confrontation on the street there are no roles or channels of coalescence for these separately existing spheres. Rather than generating a field of clear identitary positions, the different flows of cultural affiliations in Finsbury Park mark a departure from the belief in a stable concept of Britishness.
It is not only football but culture that is no longer, as the 1996 football hymn Three Lions put it, ‘coming home’. The mourning of Arsenal’s Highbury Stadium opened up a space for a more reaching farewell, a farewell to the idea that access to the understanding of culture is to be found in identitary configurations. The wistful final salute to the old Arsenal stadium marked a transformation that all European cultures are experiencing: a shift from an unambiguous socio-cultural belongingness and security experienced as familiar and homelike to a fragmented, kaleidoscopically refracted world in which our living spaces are no longer defined and shaped ‘by our-selves’ but in an interplay with the conditions and prescriptions of global capital. This process is proceeding hand in hand with a transformation of that which presents itself as community. This is a form of social upheaval that does not lend itself to mapping in terms of distinctive social events such as revolutions, demonstrations or political
marches. Rather, it is taking place as a drama within the everyday and the insig-nificant, at the innumerable sites of the overlooked and the ignored. The uncon- G
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a model of language as a means of eluding the rational calculation of a thoroughly marketized life. An incessant speaking in order to incessantly renew the framework in which exchange can take place; a speaker who redefines him or herself through the act of speaking; talk as an instrument for a process of renewed signification.5
The potential of idle talk lies in its capacity to mobilize a force field the effective range of which extends beyond what is spatially manifested as a site of communication. As Paolo Virno emphasizes, it represents the raw material
of post-Fordist virtuosity; as a fundamental principle of the performative it fulfils an important role in contemporary social production. Rather than referring to an existing, external condition, idle talk constantly creates this condition anew.6 It invents and implements, while its communication breaks into the functional refer-ence between words and things, into the relationship between the order of words and that of the body. On the one hand, this creativity of idle talk seems to serve the global instabilities fostered by capitalism, while, on the other, it also lays claim to the circuits of production as a source of dissent and disruption that takes effect not in an externally extant model but in the global flows of late capitalism itself: in its dubious business zones and in its politics of the commodity and the subject. Here lies one of the fundamental levels of communication that exhibits both artistic and economic organization – the inventive capacity of art together with the economic compulsion to subjective ‘reterritorialization’ (Guattari) in new frameworks of social power.7 With his concept of the ‘distribution of the sensible’ (Le Partage du sensible), Jacques Rancière traces this back to a common mode of production that foregrounds the relationship between the production of modalities of experience and the possibilities of experiencing something. This distribution entails inclusions and exclusions in that it establishes what constitutes the horizon of the perceptible.8 A space of action can be developed out of this argumentation by seeking alternatives to available forms of coexistence not via a recasting of stabile relationship patterns – via role reversal, altering features or reversing power relations – but via a reconfiguration of the topography of the possible. This expansion of the political sphere consists in the production of referential worlds within which decisions can be made.9
The words formulated by the different speakers in Oliver Ressler’s video project Alternative Economics, Alternative Societies constitute the cells of such worlds – not only because they propose alternative models of production and co-existence but because they enter into a dialogic relationship with the words of others: the words of the Paris Commune, the words of the workers’ movement or the words of radical political communities. This series of dialogues can be extended to many other groups and movements that, within the very wide field of radical alternatives to the dominant form of societal and economic production, help to form a theoretical context and trace a common engagement – from educational alternatives such as the Barefoot College in Rajasthan, India to more recent initiatives such as the anti-state No Border network and the digital open source movement. Hearing these presented talks, assimilating their terminology, tone and voices, creates a site of encounter with many parallel worlds. In Mikhail Bakhtin’s concept of ‘dialogism’ words constitute subjectivity by generating a social space that is fundamen-tally interpersonal and thus facilitates a constant appropria-tion and transformation of the voice of the other. The radi-cal directness of the voice and the polyphony of narrations shape a community of possibilities that enables speaker and listener to become co-producers of the community.10 Temporally and spatially distant models of alternative sociality thus open themselves to a platform that facilitates
trolled acting out of this drama, with all its potential for deviation from prescribed patterns of behaviour, is not taking place in organized rallies on London’s Trafalgar Square but in marginal actualities such as the encounters of massing football fans with radical Muslims praying on the street in St. Thomas’s Road in Finsbury Park.
articuLations of community
The case of Arsenal provides an example of an increasingly expanding geography of parallel worlds that are organized via networks and that become interwoven with other networks through situative opportunities. The dependence of such net-works on the interests of the global market raises the question as to whether the dynamics of diffusion, segmentation and splintering in the contemporary ‘space of flows’, as Manuel Castells argues, are in fact increasingly rendering it impos sible to share cultural codes or whether life in parallel universes is capable of generating new forms of sociality. According
to Castells, an enforced global logic is preventing any kind of cultural, political and physical bridge being built between the different characteristics of this space. The distortion of different temporalities in different dimensions of a social hyperspace is driving apart social worlds that mutually imply one another without offering new con-tact points.3 A search for forms of convergence can begin by looking at what emerges beyond the focus of this critique of the lack of a global sphere of connectedness, at the many self-organized situations of social praxis in which the dispersed spheres are bundled in different subjects and redistributed via them – a praxis of rich and varying textures of translocal sociality that present a range of possibilities for creating new sites of commonality. These sites can be located in close proximity to one another or far apart; they correspond to a fabric of complex temporal structures, of a ‘time as lived, not synchronically or diachronically, but in its multiplicities and simultaneities, its presences and absences’.4 While the heterogeneity of these temporalities may as a whole have a centrifugal effect, this does not prevent them from flowing together at what are often the most unexpected places and generating something new.
In what follows, we want to explore the potential of this spatially generative praxis and the possibilities for art and architecture to participate in shaping such a praxis. How can civil-societal solidarities be conceived of when the marketization of all existential contexts means that there is no apparent provision of spaces for the arti-culation of social coherence and cultural exchange outside the framework of the eco-nomic? What forms of reciprocity can be generated beyond the ideologies of global economic dependency? What alternatives can experimental forms of social and eco-nomic organization develop and what is the relationship between these alternatives and the production and distribution networks of the contemporary economy? Oliver Ressler’s video project Alternative Economics, Alternative Societies, a continually aug-mented series of interviews with advocates of a diverse range of concepts, currently presents more than a dozen alternative social and economic models. These range from Takis Fotopoulos’s ‘Inclusive Democracy’ and Michael Albert’s ‘Participatory Economics’ to the Yugoslavian model of self-management and the workers’ collec-tives during the Spanish Civil War and provide an outline of historical and contempo-rary blueprints that run counter to the logic of global capitalism. The logic of Ressler’s work itself operates via a generation of communication rather than an idealistic plan. The incomplete speeches and narratives of the different speakers combine to produce a polyphonic permeation of a loosely connected sphere of economic and societal possibilities and a renewed ‘market launch’ of these ideas. The videos insist on the power inherent in the mobilization of language as a fundamental capacity to generate every type of statement without substantiation and thus unconstrained by economic pressures. Rather than foregrounding the examinatory function of language, they show how language can become a means of empowerment. Such a reclaiming of the possibilities of economy and society coalesces with the function of talk in the babble of voices at secret meeting points, improvised sites of exchange and makeshift sites
of commerce. Rather than absolute knowledge, they cultivate an increased level of attention regarding an expanded linguistic capacity. Together they establish
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out of what Maurice Blanchot describes as ‘unworking’: an active renunciation of the activity of creating and completing in favour of disturbances, fragmentations and interruptions.14 These pauses represent the creative moment of a community that does not realize itself by way of the belief in a collectively producible work – buildings, monuments, institutions, symbols – but via a repeatedly exercized resistance to immanent power.15
The shift from ‘working’ to ‘unworking’ also moves attention from the production of objects and contexts to the qualities of a situation and the possibilities that emerge from it. Instead of working on embedding qualities in objects or contexts, a current field of potentiality opens up whose autonomous existence is able to realize or hold back configuration. In the past, architecture, art and urban design have too often allowed themselves to be seduced by the apparent remedial power of a detailed plan of social utopias. However, the rigid structures of such a plan’s operation cannot match the dynamically aggressive movements of fragmentation and deregulation in the globalized city, nor do they offer a field of engagement that could provide space for a fair competition between heterogeneous forces. But what if instead of simply putting aside the concept of utopia we were to redirect it and relate it to the potential of the present? If we anchor it in the midst of the everyday manifestations of social and cultural phenomena, utopia ceases to be positioned as an ideal blueprint and product of a distant future and becomes a communicative praxis that draws on the potentials of the present. Utopia thus becomes a process that negotiates its condi-tions and boundaries in the societal field of the present and effects transformations
a sharing and experiencing of parallel environments. What emerges at another level is not merely a reproduction of self-contained worlds but a complex map of intensities whose distribution, rather than according with a predetermined logic, develops out of reciprocal points of contact: out of a dispersed encounter between interest groups, out of models of other movements, networking processes and spontaneously co - ordinated actions. None of the links appearing between the models is required to be part of an overarching plan, part of the grammar of a common ‘language project’. The networking process takes place in the acts of speaking and hearing not in the planning of a common language. This process avoids the limitations of a planned community and its instatement in the utopia of modern planned languages such as Esperanto, Ido, Interlingua and Volapük, which have all emerged from the desire to produce a
new, global community by way of a consciously and systematically elaborated language project.11 In this case the utopia of community refers to a far distant future that is tied to the pedagogical project of the acquisition of a shared planned language. The clearly recorded steps in the development of commonalities thus perpetuate a preconceived idea of community. They articulate community as a utopian product that is built on common goals the pursuit of which aims at the consummation of community. By contrast, a platform of speak-ing as seen in the case of Alternative Economics, Alternative Societies and many other projects in artistic and urban contexts localizes the utopia of community in a contemporary process. It is a manifestation of the community in the making.
communication is not a Bond
If communication is not a product of work, then the communication between those who share a common horizon does not rest on a fixed alliance between contained enti-ties. When Jean-Luc Nancy argues that ‘communication is not a bond’,12 he is referring precisely to a form of communication that is not tied to the process of working towards a common goal but that rather emerges from the sharing of an ontological ‘sociality’. This communication challenges the principles of shared economic identity because it does not proceed from an exchange between previously created subjects but rather sees the constitution of its community in the exchange itself, in a common exposition. The sharing of this exposition evokes a reciprocal and boundless interpellation, a com-munication without end. Such an evocation of communicative intertwinements and arrangements decouples the concept of networking from the economic sphere and the exclusive orientation to efficiency, progress and growth. It liberates the concept from the clasp of goal-orientation, professionalism and all that which Samuel R. Delany has characterized as ‘the amount of need present in a networking situation’13 and allows it to emerge from the question of community. Outside the attachment to work, on the everyday level of network migration and network support, relationships between networks and communities become discernible with which the separate discourses of contact as social interaction and networking as economic interaction begin to mesh.
In our search for such a structure in the interaction of artistic and spatial praxes, we want to move beyond a functionality that refers back to the operational character of ‘community creation’ and the ideological value of ‘community achievements’. An architecture of coexistence that operates within the spatial without objectifying the spatial requires a different concept of commonality from which to proceed. Here, Jean-Luc Nancy’s The Inoperative Community provides us with a useful critique of the ideological and economic project of the functional community. Nancy locates the weak point of this project in the concept of intersubjectivity and the principle anchored within it of reciprocal social recognition, in the fact that these ideas presume separately existing subjects in order to overlay them with the hypothetical reality of a
social bond. Nancy counters this concept by maintaining that community is not founded on a work-based organization of separate existences but is constructed B
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specifics of all individual languages nor an equitable dissemination of a universally planned language. It requires a project of speaking that does not distinguish between a common nature of words and the spoken word. The displacements and frameworks that art can offer here facilitate a distancing from the old community and the cultivation of new connections, ‘a space open to each individual and under the protection of all’.17
netWorked aGency
A fundamental reference point in the formation of these worlds relates to the ques-tion of how collective agency can develop – how the plurality of dispersed forces can coalesce in forms of coordinated action and how these forms can gain relevance for the structuring of decisions, including in a political sense. Here, the model of the net-work can offer us a referential framework for the location of agency in so far as we discern the efficacy of action in the emergence of a new social form, in the transfor-mation of organization in the sense of an expansion of reference points that links the different levels of economic, cultural and social activity to one another. Put another way, agency refers to a morphological process of comprehensive and continual net-work formation. The goal does not consist in finding the enterprise models that show how such a process acquires efficiency and how this efficiency can be applied to many spheres of everyday life. The difficulty consists in demonstrating how a certain autonomy of concrete action can establish itself within the structure of this process and how political possibilities thereby emerge. The task we face entails sketching a track that runs across the traditional separation of agency and structure, micro and macro levels, individual and collective in a way that reflects Manuel DeLanda’s thesis that small autonomous organizational entities are reflected on a larger scale in other organizational entities, which in turn act autonomously. In this view, cities emerge from the interactions between the networks that form in the communication between individuals. Geopolitical structures in turn result from the interaction of cities, of net-works and of individuals. DeLanda argues that even in a world shaped by alliances and connections the subject – as is the case on every other level of decisions regarding action – is not completely defined via its relationships to others.18 At every scale level there are zones of self-organization that can generate resistance to other scales and form their own operational environment on the basis of this autonomy. Decisive here is the fact that the process in which this environment is configured cannot be explained in terms of its relationships to other spheres of influence but rather de velops internal logics in the way it operates that allow for change. ‘Autonomy within a community will not be realized by disciplinary regulation imposed by power, but by internal displacement, shiftings, settings and dissolutions that constitute a process of self composition: the self-regulation of a living society.’19
Spontaneously emerging architectures, intermediate uses, occupations, utilizations, self-organized meeting points and other temporary markings of communities, as well as the encounters between persons associated with them, are part of a route and a process, but they constitute neither the logical format nor a relationally defined goal of development. The concept of ‘temporary architecture’ frequently leads to the mistaken understanding of a certain aesthetic of improvised spaces as a desideratum of a community in the making and a corresponding staging of sites of the community. However, if we do not localize temporality in the aesthetics of constructional sub-stance but rather in the different temporal rhythms of individuals, groups and commu-nities, in the flowing movements of societal praxis itself, then we gain an insight into the extent to which the potential for the actualization of communities is spread across
the individual zones of the city and roams across the different scales of social organization. Spaces that generate societal self-understanding thus take shape
within it. This shift of a distant ideal state into the here and now of the physical world presents not only a challenge to the ideational construct of the community but also a fundamental challenge to architecture as a planning discipline. It is confronted with two interrelated questions. What can architecture offer the community if community is not a project and therefore also not an architectural project? And how can it con-tribute to the constitution of community if the forces driving the latter are in principle non-spatial? The current crisis in the relationship between architecture and commu-nity indicated by these questions and the corresponding proliferation of spatial con-trols are both fundamental aspects of the search being conducted for architectures of coexistence. However, in the face of the excessive formation of obstacles to a utopian community of the present, how can a focus be brought into the debate around the formation of spatial coexistence that aims at more than exposing the negativity of domination?
This search for architectures of possibilities forms a guiding principle for many of the praxes and projects brought together in this book, including the two projects based in Paris that have intervened in the politics of urban planning via the articulation of communities. One project involves the creation of a place of retreat from the many ethnic and religiously determined groups in Sevran-Beaudottes, which was initiated by the Campement Urbain collective with its project Je&Nous. The other is the community garden ECObox by atelier d’architecture autogérée in La Chapelle. Both initiatives have been engaged over the long term in instigating a process of cultural appropriation of urban space and citizenry from the periphery. Numerous meetings, discussions and collectively organized events have been devoted to the modelling of structures within which spatial self-determination can take place. Who decides on the design of a collectively used space? Who controls access? Who takes responsibility for mainten ance? Who is permitted to enter? Here, instead of healing the physical city, architecture expands and invents the means that it deploys: it uses a bricolage of art, propaganda, city policies and social relationships in order to intervene mani-pulatively in the context intended for urban renewal. Outside this context prescribed by authorities, hierarchies and by-laws, unplanned and self-empowered formations have emerged whose architecture is accorded a subsidiary role because it only takes on efficacy in connection with a network of participants – with the gatherings of residents; with collective actions; with the extension of the space of action in inter national exhibitions of the project; with the utilization and transformation of the created structures; with the myths that enable a community to emerge and the myths in which the community continues to exist.
Here, rather than producing an experimental model that is abstracted from one situ-ation and can be transferred onto another, or an experiment that can be extrapolated if it proves successful, art practices engage in an experiment that is simultaneously its own outcome – one of many parallel worlds that represent the formation of new communities. It produces, as Giorgio Agamben formulates it, an indifference of the common and the respectively individual: ‘Taking-Place, the communication of singu-larities in the attribute of extension, does not unite them in essence, but scatters them in existence.’16 Its potential lies in enriching the location of a community of congrega-tion amidst the decay of a single utopian society and the conflict of many essential communities. This ‘common’ occurs in the forsaking of the old communities shaped by ethnicity, religion, origin and social stigma with their respectively specific and uniform characteristics; in the opening up of ever new worlds that facilitate new forms of congregation in relation to shared horizons. The sharing of the horizon results from the production of a solidarity that consists neither in an appropriation and individualization of the com-mon nor in the universalization of singular characteristics. Its reference point lies outside the characteristics that are anchored in the different expressions and communications of essential communities. The articula-
tion of such solidarity requires neither an integration of the C
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at every scale level of societal organization as an imprint of different temporalities that coalesce in the local and effect local shifts. That which is manifested spatially in these shifts can have many different qualities. It can be a sought-after form of expression, a camouflage, an object of defence, a contested placeholder, a point that provokes community or a mechanism in the discussion of the political question of spatial organization. All these spatial constructs refuse a clarification of the outlines of their field of action and introduce ambiguity to the classification of individuals and places. By operating against the unambivalent consolidation of constructional, social, historical or everyday-practical connections, they keep space open for what could be and at the same time reveal it to be a political question, a matter of community. In Homo Sacer, Agamben proposes conceiving of the politics of community beyond its connections to actualization: as the autonomous existence of a potentiality that can counter imposed systems and restrain such a structured form of community while at the same time maintaining its capacity to become community elsewhere.20 If we relate this capacity for the self-determined rearrangement of communities to the migrations of people, products, work and thought, then it would seem that mobility and parallelism are today the fundamental forms of expression for spatial distribution. The simultaneity of static and dynamic sites, the concurrence of zones of exception and regulated spheres, the overlapping of contradictory spatial systems – all this complicates the liminal spheres in which the transition from one organizational level to another takes place and obfuscates the reciprocal cognition of these spheres, not least the subject’s self-knowledge. At the same time, as Judith Butler argues, a certain opacity of the subject constitutes a necessary part of its sociality. It is precisely due to this fabric of relation-ships that the subject can never give a full account of itself. Both levels can move in relation to one another, are open and can be used for change.21 The relationships lying between these levels do not constitute an absolute dimen-sion that infers the subject but rather an autonomous field that facilitates divergent action. Autonomy is thus not to be found on the level of a subject entirely known to itself but in the engagement with an unclear meshing of social relationships that shape and hold the subject. The state of not being completely representable to oneself, of being inconsistent or split, positions the space for a critique of norms that demand a certain behaviour of us in the field of the articulation of community with others – in a dispute over values, aesthetics and practices.
There is thus also no perfect environment shapeable via art and architecture which could eliminate the pain associated with the experience of otherness. Exposure to the unknown and the uncertain is a basic experience that cannot be purged by aes-thetic formation. Even if architecture is today endeavouring to meet the economic demands for the greatest possible degree of flexibility and situative adaptability, it cannot elude the confron-tation with uninvited guests. Architecture can neither circumvent nor plan this experience just as it cannot produce an ideal site of coexistence. Coexistence is not a state that can be planned and therefore is available not as a blueprint but only as a political possibility.
As such a potential, coexistence, as Jean-Luc Nancy emphasizes, is particularly sharply defined at a point ‘when there is no longer a ‘city’ or ‘society’ out of which a regulative figure could be modelled, at this moment being-many, shielded from all intuition, from all representation or imagination, presents itself with all the acuity of its question, with all the sovereignty of its demand. This question and demand belong to the constitution of being-many as such and, therefore, belong to the constitution of plurality in Being. It is here that the concept of coexistence is sharpened and made
more complex’.22 The community formulated as coexistence does not emerge via a staged merging of difference but rather reveals itself as a dispersed form
based on changeable spatial configurations that interrupt this staging: spatial appropriations and take-overs, smug-gling, counterfeiting and piracy. This moment of disruption becomes most explosive at the level where a common field of articulation is most lacking: in the thinking of coexistence on the scale of the global public sphere – its multiple fields of communication, its ailing forces and its indivisible common terrain. Addressing this form of community is a performative act.23 It refers to the entire project of politics in a globalized public sphere in which the incongruity of dif-ferent communal interests compels each group to creatively expand itself. Herein lies the difficulty for art and architec-ture: in the search for possibilities of revealing these expan-sions, of engaging with them and assessing them positively so that reciprocal concatenations and incorporations can form, levels of communication for a creative overlapping of different multiplicities.
In order to further develop such a concept of global coexistence and the global public sphere – one which refers to disruption and expansion – we would like to return to an idea we have already discussed in relation to the question of dealing with conflict, the idea of provisionality as compensation. What makes such an idea useful in this context is its shift in direction from the originality to the futurity. It replaces the mere tolera-tion of contradictions and incongruities with an active moment of change. Sigmund Freud develops a psychoanalytic notion of Ersatz (substitute) in relation to magic and myth in his essay ‘Totem and Taboo’, where he suggests that art replaces an un -attainable real object through an illusory one.24 Aesthetic production and the pleas ure obtained through it are in this way characterized by the figure of Ersatz in which the artist subscribes to a fantasy world rather than finding gratification in the real world. Freud sees no point in healthily sustaining the function of the surrogate throughout adult life. Rather, he thinks that the substitution operates as a retreat into compen-satory gratification. But what if we were to recognize conflicts and disruptions in a sphere of connectedness and allow for a climate of sustained and permitted conflicts? This would constitute a step towards a possibly imperfect yet perfectly appropriate model of development. Such a model breaks with a clear separation of the world of fantasy and the world of reality.25 It advocates a transformatory experi-ence that localizes an experimentation with possible worlds in the world of existing relational structures. Competing systems and their construction of discontinuity are replaced by a shared praxis of maintained contradictions, a simultaneity of several worlds that creates space for change. ‘To ask for recognition,’ writes Judith Butler, ‘or to offer it, is precisely not to ask for recognition of what one already is. It is to solicit a becoming, to instigate a transformation, to petition a future always in relation to the Other.’26 Although the tension of perpetual contradictions may be accompanied by irritations, intrusions and exhaustion, what really matters is the capacity to repair and reconstitute relationships. The rejection of the concept of clear breaks and separations and a preference for perpetual contradictions point to an understanding of connectedness not as a model of enduring harmony but as an arc of tension that is maintained and altered by constant disruptions and repairs. In this model there is no normative ideal of balance that equates rifts with failure. Rather than acceding to the obsession with perfect realizations of a particular form of organization, it advocates a space in which the disordered and contradictory sides of creativity can act out their generative force and in the process precisely revise the conditions of growth.
This argumentation finds a dual echo in the often used relational construct of the multi tude, as outlined by Paolo Virno in A Grammar of the Multitude. One aspect concerns the way in which the subject represents a zone of dispute between differ-
ent forces that leave individuation incomplete and fragmentary. The mesh-like, amphibious subject of this confrontation is always tied to the force of the pre-
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individual. The other aspect concerns the way network action acquires new models of social expression and interaction from a revision and redefinition of prevailing ideas and not from a transition from one point to another.27 This assessment of the appropriation and reconfiguration of the network society thus rests on a concept of the substitute that has less to do with the principle of closure than with the practices of continued contradictions. This is a substitute that does not elude external reality. It neither represses this reality nor emulates it with the aid of a surrogate. It simply operates from the inside. This form of substitute is neither parasitic nor unfathomable. It is a structural mode that is conditioned by the same forces that have generated it, and it therefore shares their operational logic.
The most pressing challenge facing architecture today is that of creating possibilities for the emergence of dialogic forms of coexistence. This requires a reassertion of politics in the configuration of space and a new reoccupation of architecture as a field of collective action. Both aspects require a fundamental politicization of space as opposed to a classification of specific spaces for the conducting of politics, whether as a parliamentary forum, a public meeting or an activist group. Urban and geocultural configuration must be understood as a space of politics, and collective access to the utilization of this space must be facilitated. This in turn requires tools and means that are not bor-rowed from an existing repertoire but that can only be acquired within a framework of prevailing everyday realities, continually and anew. The devel-opment of such tools in dispersed experimental situations makes use of spatial and societal transi-tion as an ‘incomplete’ yet ‘completely appropriate’ working model in order to constitute new forms of access. Here, community is not the goal of plan-ning but rather the changeable and multifariously existent site of the acquisition of access.
The approaches generated by the artistic and architectural practices brought together in this book can contribute to the further conceptual development of ways of deal-ing with a politics in which the maintenance of a state of exception becomes the predom inant doctrine of a transformation that conforms to certain interests. They test a praxis that implants itself in this state of exception and provokes its own state of exception in order to develop and appropriate a potential for decision-making in an unregulated space of action and to reclaim the potential for transformation associated with it. Through their engagement with the predetermined material of the present, with momentary situations and with people who find themselves in a particular role, they are compelled to become inventive and to produce their own models of conflict negotiation without the security of being able to trust in expert models. It is precisely not in the application of existing expertise that their strength lies but in a constant renewal of the here and now. In this way dispositions to action can develop that are not based on new hardening of identity traits but rather conform to a model of performative politics. Such an understanding of praxis does not invoke the role of opposition to a central power but rather breaks out of the imposed dualism of internal and external worlds and utilizes the fundamental dynamic of the network for itself – the dynamic of trans-formation in order to devise new relationships to the vis-à-vis. This performative praxis establishes contact and, in the process of exchange, pioneers compensa-tory paths that facilitate a transgression of the partitions and exclusions within the hege monic order. Experimental spatial practices shape the substitute, the symbolic gesture that undercuts the exclusion of conflict. By giving space to lived subjectivities they facilitate the reintroduction of society in the negotiation of space. These project forms are thus not a secondary illustration of a political conflict but the terrain of the
conflict itself.
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etw
een
Mo
nte
Tes
tacc
io a
nd
the
rive
r T
iber
in t
he
XX
dis
tric
t of R
om
e. T
he
nu
mer
ou
s co
urt
yard
s o
f th
e fo
rmer
sla
ug
hte
rho
use
are
pro
vid
ing
spac
e fo
r su
ch d
iver
se o
ccu
pan
ts a
s th
e ca
valla
ri a
nd
thei
r th
ree
hu
nd
red
ho
rses
, mig
ran
t K
urd
s, t
he
cara
van
s o
f th
e C
ald
eras
ha
com
mu
nit
y, t
he
soci
al c
entr
e V
illag
gio
Glo
bal
e, t
he
mu
nic
ipal
po
lice
of t
he
city
of R
om
e, t
he
Sch
oo
l of A
rch
itec
ture
of R
om
a Tr
e U
niv
ersi
ty a
nd
the
Mu
seu
m o
f Co
nte
mp
ora
ry A
rt R
om
e (M
AC
RO
).
At n
igh
t th
e w
ho
le a
rea
aro
un
d M
on
te T
esta
ccio
tu
rns
into
on
e o
f th
e m
ain
nig
htl
ife
dis
tric
ts f
or
you
ng
Ro
man
s. T
her
e ar
e p
lan
s b
y th
e m
un
icip
alit
y o
f Ro
me
to t
urn
th
e co
mp
lex
into
a C
ity
of A
rts.
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rld
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rld
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1 ‘Radical Muslims must integrate, says Blair’,
The Guardian, 9 December 2006, 4.
2 Sean O’Neill and Daniel McGrory, The Suicide
Factory: Abu Hamza and the Finsbury Park Mosque
(London: Harper Perennial, 2006).
3 Manuel Castells, The Information Age: Economy,
Society and Culture, vol. 1, 2nd edition (Blackwell:
Oxford, 2000), 458f.
4 Achille Mbembe, On the Postcolony (Berkeley,
CA: University of California Press, 2001), 8.
5 Marina Grzinic, ‘Performative Alternative
Economics’, in Alternative Economics, Alternative
Societies, ed. Oliver Ressler (Frankfurt a.M./Novi
Sad: Revolver/kuda.org, 2005), 24f.
6 Paolo Virno, A Grammar of the Multitude: For an
Analysis of Contemporary Forms of Life (New York:
Semiotext(e), 2004), 90f.
7 Félix Guattari, ‘Du post-modernisme à l’ère post-
media’, in Cartographies schizoanalytiques (Paris:
Galilée, 1989), 54. See also: http://brianholmes.
wordpress.com/2007/07/21/swarmachine/
8 Jacques Rancière, The Politics of Aesthetics: The
Distribution of the Sensible (London and New York:
Continuum, 2004).
9 Jacques Rancière, ‘The Abandonment of Demo-
cracy’, in Documenta Magazine, no. 1-3 (2007),
ed. documenta (Cologne: Taschen, 2007), 459.
10 Mikhail M. Bakhtin, Problems of Dostoevsky’s
Poetics, ed. and transl. by Caryl Emerson
(Minneapolis, MN: University of Minnesota Press,
1984).
11 In this connection it is interesting to note that
the steady expansion of the international Esperanto
movement since the 1980s has not been based on a
belated embrace of its original goals but on a com-
plete transformation of its founding idea. The origi-
nal goal of the Esperanto movement was to develop
tools that would facilitate a better understanding
between different cultures. However, contempor-
ary supporters of the movement are now united by
a ‘conspiratorial’ interest in the cultivation of their
own ‘Esperanto culture’, i.e. in a form of communi-
cation employed in international congresses, online
forums and personal meetings, hidden archives,
politically oriented art circles and anti-globalization
initiatives, the vehicle of which is Esperanto.
12 Jean-Luc Nancy, The Inoperative Community
(Minneapolis, MN: University of Minnesota Press,
1991), 29.
13 Samuel R. Delany, Times Square Red, Times
Square Blue (New York and London: New York
University Press, 1999), 136.
14 Nancy, ibid. note 12, 31.
15 Ibid., 35.
16 Giorgio Agamben, The Coming Community
(Minneapolis, MN: University of Minnesota Press,
1993), 19.
17 Campement Urbain, ‘The I & Us Project’, in The
[Un]common Place: Art, Public Space and Urban
Aesthetics in Europe, ed. Bartolomeo Pietromarchi
(Barcelona: Actar, 2005), 206.
18 Manuel DeLanda, A New Philosophy of Society:
Assemblage Theory and Social Complexity
(London and New York: Continuum, 2006).
19 Doina Petrescu, ‘Losing Control, Keeping Desire’, in
Architecture and Participation, eds. Peter Blundell
Jones, Doina Petrescu and Jeremy Till (London
and New York: Spon Press, 2005), 55.
20 Giorgio Agamben, Homo Sacer: Sovereign Power
and Bare Life (Stanford, CA: Stanford University
Press, 1998), 47.
21 Judith Butler, Giving an Account of Oneself
(New York, NY: Fordham University Press, 2005).
22 Jean-Luc Nancy, Being Singular Plural (Stanford,
CA: Stanford University Press, 2000), 43.
23 Susan Buck-Morss, Thinking Past Terror: Islamism
and Critical Theory on the Left (London and New
York: Verso, 2003), 22.
24 Sigmund Freud‚ ‘Totem und Tabu (Einige Über-
einstimmungen im Seelenleben der Wilden und
der Neurotiker)’, in idem, Studienausgabe, vol. IX,
Fragen der Gesellschaft/Ursprünge der Religion
(Frankfurt/M.: Fischer, 2000 [1912/1913]), 287-444.
25 A developmental model of conflictual praxis is
sketched for example by Jessica Benjamin in
‘Recognition and Destruction’, Like Subjects,
Love Objects: Essays on Recognition and Sexual
Difference (New Haven, CT: Yale University Press,
1995).
26 Judith Butler, Precarious Life. The Powers of
Mourning and Violence (London and New York:
Verso, 2004), 44.
27 Virno, ibid. note 6, 80.
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257
Par
alle
l Wo
rld
s In
terv
iew
the
nex
t in
carn
atio
n o
f th
e p
roje
ct. I
t w
as c
alle
d Pr
oce
ssM
atte
r an
d re
sult
ed
in a
dig
ital
sim
ulat
ion
of t
he
pra
ctic
e o
f st
reet
trad
e as
ob
serv
ed in
Bel
gra
de.
Pm
/Hm
: Ho
w d
o yo
u re
late
yo
ur
init
ial
rese
arch
in B
elg
rad
e w
ith
inve
stig
atin
g
the
situ
atio
n in
cit
ies
like
Ro
tter
dam
? Is
th
is a
bo
ut e
nri
chin
g th
e D
utc
h m
od
el
wit
h th
e B
elg
rad
e ex
per
ien
ce –
or
is
a ce
rtai
n ch
ang
e al
read
y h
app
enin
g
her
e as
wel
l, b
ecau
se d
iffe
ren
t gro
up
s o
f peo
ple
are
als
o in
tro
du
cin
g d
iffe
r-en
t way
s o
f liv
ing
to R
ott
erd
am a
ll
the
tim
e?
mar
c n
eele
n: I
wo
uld
say
th
at
loo
kin
g at
Bel
gra
de
tells
us
a lo
t ab
ou
t so
me
ph
eno
men
a th
at a
re a
ctu
ally
h
app
enin
g r
igh
t her
e in
Ro
tter
dam
b
ut a
ren
’t so
vis
ible
. In
a c
rud
e si
tu-
atio
n li
ke B
elg
rad
e’s
soci
o-p
olit
ical
, cu
ltu
ral,
eco
no
mic
cri
sis,
yo
u fi
nd
a
lot o
f tra
nsi
tio
ns
occ
urr
ing
rig
ht i
n
fro
nt o
f yo
ur
eyes
. Sim
ilar
thin
gs
are
hap
pen
ing
in t
he
Net
her
lan
ds,
eve
n if
n
ot s
o d
irec
tly,
an
d if
th
ey d
on
’t af
fect
yo
ur
life
as h
arsh
ly, s
till
they
exi
st. I
n
the
pro
ject
Eu
rop
e Lo
st a
nd
Fo
un
d,
wh
ich
we’
ve b
een
wo
rkin
g o
n s
ince
20
05, t
he
idea
is to
loo
k at
th
e fo
rmer
Y
ug
osl
av r
epu
blic
s in
ord
er to
hav
e a
bet
ter
un
der
stan
din
g o
f wh
at is
go
ing
o
n in
th
e re
st o
f Eu
rop
e. H
ere
in t
he
Net
her
lan
ds
we’
re a
lso
dea
ling
wit
h a
st
ate
that
is c
utt
ing
its
resp
on
sib
iliti
es
and
bec
om
ing
less
po
wer
ful.
We
use
d
to h
ave
a fa
irly
reg
ula
ted
pla
nn
ing
p
roce
du
re in
Ho
llan
d; r
ou
gh
ly e
ach
d
ecad
e th
e st
ate
rele
ased
a p
lan
on
h
ow
th
e co
un
try
sho
uld
be
tran
s-fo
rmed
. Th
is is
on
e o
f th
e th
ing
s th
at
has
bee
n g
iven
up
rec
entl
y. W
hat
th
e ef
fect
s o
f th
is w
ill b
e is
n’t
at a
ll cl
ear,
an
d w
e’ve
no
sim
ilar
loca
l exp
erie
nce
s fr
om
wh
ich
to t
ake
refe
ren
ce –
so
th
is
is w
her
e B
elg
rad
e m
ay b
e ab
le to
giv
e u
s vi
tal c
lues
. If w
e lo
ok
at t
he
way
s o
f liv
ing
in t
hes
e tw
o c
itie
s, R
ott
erd
am
is d
efin
itel
y m
uch
mo
re d
iver
se in
cu
ltu
re t
han
Bel
gra
de,
bu
t it l
eave
s
littl
e ro
om
fo
r th
is d
iver
sity
to e
xpre
ss
itse
lf s
pat
ially
.
Pm
/Hm
: Thi
s b
rin
gs
up
the
qu
estio
n o
f th
e ar
chit
ect’
s ro
le a
nd
po
ssib
ilitie
s in
m
oul
din
g fu
ture
cit
ysca
pes
. Acc
ord
ing
to
the
trad
itio
nal
rea
din
g, t
he
task
of
arch
itec
ture
is to
co
me
up
wit
h a
cer-
tain
sp
atia
l an
d vi
sual
co
nfi
gur
atio
n,
on
e th
at is
ab
le to
su
pp
ort
a p
arti
cula
r fo
rm o
f so
cial
org
aniz
atio
n. D
o yo
u
see
way
s fo
r ar
chit
ectu
re to
en
gag
e in
so
cial
dyn
amic
s o
ther
than
by
con
cern
-in
g it
self
wit
h ae
sth
etic
pro
du
ctio
n?
an
a d
zoki
c: T
he
pre
occ
up
atio
n o
f ar
chit
ects
wit
h th
e ae
sth
etic
s o
f bu
ilt
ob
ject
s is
so
met
hin
g w
e d
on
’t fin
d
very
inte
rest
ing
. Whi
le r
esea
rchi
ng
on
B
elg
rad
e, w
e w
eren
’t fa
scin
ated
by
its
do
-it-
your
self
aest
het
ics,
bu
t by
the
log
ic o
f thi
s ur
ban
tran
sfo
rmat
ion
, ho
w
it w
ork
ed, a
nd
ho
w it
res
po
nd
ed to
ec
on
om
ic s
ucc
ess
or
failu
re. N
ot e
very
si
tuat
ion
wo
rked
wel
l – s
om
e w
ere
qu
ite
pro
ble
mat
ic, b
ut o
ther
s w
ent f
ar
bey
on
d o
ur p
ro fe
ssio
nal
imag
inat
ion
.
mar
c n
eele
n: F
or
a w
hile
dur
ing
M
od
ern
ism
, th
ere
was
the
idea
that
ar
chit
ects
co
uld
hav
e a
mo
no
po
ly o
n
spac
e an
d it
s ae
sth
etic
s. T
his
per
iod
is
defi
nit
ely
over
. Let
’s s
pea
k ab
ou
t th
e si
tuat
ion
in E
uro
pe.
Co
ntr
ol o
f wh
o d
e-ve
lop
s sp
ace
is n
ow
dis
trib
ute
d am
on
g
man
y. P
revi
ou
sly
the
stat
e al
mo
st
alw
ays
set t
he
con
dit
ion
s. In
man
y co
untr
ies
tod
ay, t
he
invo
lvem
ent o
f th
e st
ate
has
dec
reas
ed d
rast
ical
ly a
nd
g
iven
way
to p
riva
te in
itia
tive
, eve
n o
n
the
low
est l
evel
of d
evel
op
men
t, i.e
. ‘d
o-i
t-yo
urse
lf’ i
nte
rven
tion
s. If
this
is,
ind
eed
, th
e co
nte
xt w
e’re
no
w d
ealin
g
wit
h, th
en th
ing
s h
ave
go
ne
far
bey
on
d
aest
het
ics
and
are
mo
re a
bo
ut h
ow
yo
u n
avig
ate
dev
elo
pm
ents
in s
uch
co
nd
itio
ns.
To
som
e ex
ten
t yo
u h
ave
to
rein
ven
t ho
w y
ou
pra
ctis
e ar
chit
ectu
re.
To b
e ef
fect
ive,
yo
u n
eed
to c
oo
per
ate
wit
h o
ther
s. O
ne
of t
he
mo
st im
po
r-
Pm
/Hm
: Mar
c an
d A
na,
as
mem
ber
s o
f ST
EA
LTH
.un
limit
ed y
ou
’re
curr
entl
y b
ased
in R
ott
erd
am, b
ut i
t see
ms
that
th
e ci
ty o
f Bel
gra
de
has
als
o p
laye
d
a fo
rmat
ive
role
for
the
gro
up
. Wh
at
is th
e st
ory
beh
ind
this
tran
slo
cal
traj
ecto
ry?
an
a d
zoki
c: In
dee
d, i
t all
star
ted
wit
h
Bel
gra
de
and
the
mid
-199
0s, w
hen
to
get
her
wit
h a
few
frie
nd
s I i
nit
iate
d
an in
dep
end
ent a
sso
ciat
ion
calle
d
Pro
jekt
X. W
e w
ere
all s
tud
ents
of
arch
itec
ture
at t
he
time,
an
d in
199
6 –
a
per
iod
of d
eep
cris
is in
so
ciet
y –
we
org
aniz
ed a
n in
tern
atio
nal
eve
nt i
n an
ab
and
on
ed s
ug
ar fa
cto
ry, w
ith
300
art-
ists
, arc
hite
cts
and
stu
den
ts. T
hro
ug
h
this
pro
ject
I b
egan
to r
ealiz
e th
at if
yo
u re
ally
wan
t to
mak
e an
imp
act a
nd
m
ove
thin
gs,
a s
ing
le p
erso
n’s
eff
ort
s ar
en’t
eno
ug
h. I
n 19
98, M
arc
and
I go
t in
tere
sted
in th
e tr
ansf
orm
atio
n o
f th
e ci
ty o
f Bel
gra
de
and
ho
w, i
n le
ss th
an a
d
ecad
e, a
pla
nn
ed s
oci
alis
t so
ciet
y h
ad
turn
ed in
to s
om
ethi
ng
com
ple
tely
new
an
d d
iffi
cult
to d
escr
ibe.
We
star
ted
to
co
llab
ora
te w
ith
ano
ther
co
lleag
ue,
M
ilica
To
pal
ovic
, on
a re
sear
ch p
roje
ct
calle
d W
ild C
ity.
It fo
cuse
d o
n th
e m
assi
ve, n
on
-reg
ulat
ed d
evel
op
men
t o
f an
urb
an e
nvir
on
men
t mad
e b
y ‘o
rdin
ary’
peo
ple
bu
t ig
no
red
or
even
co
nd
emn
ed b
y p
rofe
ssio
nal
arc
hite
cts.
It
all b
egan
as
rese
arch
at t
he
Ber
lag
e
Inst
itu
te in
Am
ster
dam
. Bei
ng
in th
e N
eth
erla
nd
s, w
e fo
und
it in
trig
uin
g to
d
raw
a c
om
par
iso
n to
the
Du
tch
pla
n-
nin
g co
nte
xt, a
s w
ell a
s to
the
on
-go
ing
d
ebat
e o
n V
inex
an
d H
et W
ilde
Wo
nen
(‘
Wild
Liv
ing
’) a
nd
its
inst
itu
tion
aliz
ed
ple
a fo
r fa
r-re
achi
ng
der
egul
atio
n o
f h
ou
sin
g. T
o h
ave
an a
ctu
al c
on
nec
tion
w
ith
Bel
gra
de,
we
app
roac
hed
a fr
ien
d
of o
urs,
Ivan
Ku
cin
a, w
ho
was
teac
hin
g
at th
e Fa
cult
y o
f Arc
hite
ctur
e th
ere.
W
ild C
ity
bec
ame
mu
ch m
ore
than
a
thes
is p
roje
ct. I
t sh
aped
our
way
of
thin
kin
g, o
ur a
pp
roac
h an
d cr
eate
d a
con
text
in w
hich
to o
per
ate.
Pm
/Hm
: Th
ere’
s en
orm
ou
s in
tere
st
in th
e ‘B
elg
rad
e p
hen
om
eno
n’.
Ho
w
do
you
spre
ad th
e kn
ow
led
ge
you
ac
qu
ired
whi
le w
ork
ing
on
your
thes
is
and
dig
gin
g d
eep
er in
to B
elg
rad
e’s
situ
atio
n? A
nd
ho
w d
o yo
u co
nn
ect i
t al
l in
to a
n ar
chit
ectu
ral d
isco
urse
?
an
a d
zoki
c: O
ne
of t
he
dri
vin
g fo
rces
b
ehin
d th
is p
roje
ct w
as to
fin
d o
ut
ho
w to
dev
elo
p a
colla
bo
rati
ve a
p-
pro
ach
and
crea
te a
dat
abas
e o
n ur
ban
in
terv
entio
ns
by
invo
lvin
g 80
stu
den
ts,
whi
le a
lso
hav
ing
an in
flu
ence
on
th
e d
iscu
ssio
n in
Bel
gra
de.
Th
e to
tal
dis
crep
ancy
bet
wee
n th
e si
tuat
ion
in
Bel
gra
de,
wh
ere
the
wh
ole
sys
tem
fa
iled
and
con
tro
l of s
pat
ial d
evel
op
-m
ent w
as la
rgel
y ab
and
on
ed, a
nd
in
the
Net
her
lan
ds,
wh
ere
each
sq
uar
e ce
ntim
etre
of l
and
is p
lan
ned
an
d
giv
en a
fun
ctio
n, b
ecam
e vi
tal.
Wh
at
we
find
inte
rest
ing
is n
eith
er th
e o
ne
no
r th
e o
ther
, bu
t act
ual
ly th
e si
tuat
ion
in
bet
wee
n. W
e’re
no
t on
ly in
tere
sted
in
bo
tto
m-u
p d
evel
op
men
ts a
nd
wh
at
peo
ple
do,
bu
t in
the
inte
ract
ion
of
inst
itu
tion
s w
ith
wh
at p
eop
le d
o. I
s th
ere
som
ethi
ng
that
evo
lves
wh
en
they
inte
ract
co
nsc
iou
sly
or
sub
con
-sc
iou
sly,
so
met
hin
g fr
om
whi
ch w
e ca
n g
ain
kno
wle
dg
e an
d th
at c
an b
e in
teg
rate
d in
to o
ur p
rofe
ssio
n? W
e’re
n
ot i
nte
rest
ed in
cat
alo
gu
ing
wei
rd
ph
eno
men
a in
ord
er to
exo
tici
ze is
sues
exis
ting
in th
e B
alka
ns,
bu
t to
acq
uir
e kn
ow
led
ge
fro
m B
elg
rad
e’s
‘lab
ora
tory
co
nd
itio
n’.
A c
hal
len
gin
g o
utc
om
e o
f W
ild C
ity
was
that
we
bec
ame
awar
e o
f th
e p
oss
ibili
ty o
f tra
nsl
atin
g th
e ur
ban
(p
hysi
cal)
com
ple
xity
into
the
dig
ital
re
alm
, of u
nd
erst
and
ing
and
pla
yin
g
wit
h th
e p
roce
sses
that
sh
ape
the
phy
sica
l rea
lity
of t
he
city
, whi
le a
t th
e sa
me
time
get
ting
to k
no
w th
e p
oin
ts
wh
ere
we
mig
ht e
nte
r th
eir
traj
ecto
ries
in
ord
er to
inte
rven
e. B
y co
nn
ectin
g u
p
wit
h M
ario
Cam
pan
ella
, an
aero
nau
tics
en
gin
eer
wit
h a
mas
ter’
s d
egre
e in
ar
tifi
cial
inte
llig
ence
, we
dev
elo
ped
steaLtH
Cu
t fo
r P
urp
ose
Mu
seu
m B
oijm
ans
van
Beu
nin
gen
, Ro
tter
dam
, 200
6S
pac
e cu
t ou
t an
d u
sed
by
par
tici
pan
ts
(Wen
del
ien
van
Old
enb
org
h)
Cu
t fo
r P
urp
ose
Mu
seu
m B
oijm
ans
van
Beu
nin
gen
, Ro
tter
dam
, 200
6S
TE
ALT
H, p
roje
ct b
y M
ario
Cam
pan
ella
, An
a D
zoki
c,
Mar
c N
eele
n
Wild
Cit
y, B
elg
rad
e, 1
999
-200
1S
TE
ALT
H, p
roje
ct b
y A
na
Dzo
kic,
Ivan
Ku
cin
a, M
arc
Nee
len
, M
ilica
To
pal
ovi
c
Wild
Cit
y, B
elg
rad
e, 1
999
-200
1V
illag
e ar
chit
ectu
re d
ensi
fies
to
p
flo
or
of a
cit
y ce
ntr
e h
ou
sin
g b
lock
258
Par
alle
l Wo
rld
s In
terv
iew
259
Par
alle
l Wo
rld
s In
terv
iew
tan
t asp
ects
of S
TE
ALT
H’s
wo
rk is
the
co-a
uth
ori
ng
of u
rban
sp
ace.
As
the
city
is a
pro
du
ct o
f a m
ulti
tud
e o
f in
ter-
actio
ns,
it’s
imp
ort
ant t
o ta
p in
to th
ese
ener
gie
s –
on
e si
ng
le a
pp
roac
h w
on
’t
wo
rk. H
ence
, wo
rkin
g in
a n
etw
ork
is
vita
l to
our
pro
fess
ion
.
an
a d
zoki
c: O
ne
of t
he
pro
ject
s w
her
e th
is is
bei
ng
test
ed –
an
d w
e’re
sit
ting
in
it n
ow
dur
ing
this
inte
rvie
w –
is th
e p
roje
ct C
ut f
or
Purp
ose
, mad
e o
n th
e in
vita
tion
of t
he
Mu
seu
m B
oijm
ans
van
Beu
nin
gen
in R
ott
erd
am. T
hree
yo
ung
cura
tors
fro
m it
s C
ity
Edit
ori
al
Bo
ard
wan
ted
to p
ush
thei
r ac
tivi
ties
bey
on
d th
e in
stit
utio
n an
d b
rin
g th
e d
ynam
ics
of t
he
city
into
the
mu
seu
m:
wit
h th
e R
ott
erd
am a
rt s
cen
e an
d it
s ci
ty a
ud
ien
ces.
So
we
dec
ided
to in
stal
l a
gri
d o
f 2,0
00 s
hee
ts o
f car
db
oar
d
that
wo
uld
fill 4
00 s
qu
are
met
res
of
mu
seu
m s
pac
e. O
ver
a p
erio
d o
f nin
e w
eeks
an
d w
ith
ou
t any
pre
arra
ng
ed
layo
ut,
a n
um
ber
of g
rou
ps
hav
e
bee
n in
vite
d to
exc
avat
e sp
aces
for
thei
r ac
tivi
ties
wit
hin
it. T
o se
t off
the
pro
cess
, five
sim
ple
sp
atia
l gu
idel
ines
w
ere
pro
vid
ed. H
ere
our
too
l has
no
t b
een
rese
arch
, bu
t th
e p
rovi
sio
n o
f a
real
phy
sica
l str
uct
ure
as c
om
mo
n
gro
und
– a
‘larg
er-t
han
-hu
man
’ to
ol
for
co-a
uth
ori
ng
.
Pm
/Hm
: Ho
w w
oul
d yo
u d
escr
ibe
th
e m
oti
vatio
ns
that
form
ed th
e b
asis
fo
r at
elie
r d
’arc
hite
ctur
e au
tog
érée
(a
aa) a
nd
wh
at in
flu
ence
did
thes
e h
ave
on
the
stru
ctur
e o
f yo
ur w
ork
, fo
r in
stan
ce o
n th
e EC
Ob
ox p
roje
ct y
ou
in
itia
ted
in y
our
ow
n n
eig
hb
our
ho
od
o
f La
Ch
apel
le?
co
nst
anti
n Pe
tco
u: T
wo
of t
he
init
i-at
ors
, Do
ina
Petr
escu
an
d m
ysel
f, ar
e fr
om
Ro
man
ia, a
nd
wh
en w
e ca
me
her
e w
e d
idn
’t kn
ow
any
thin
g ab
ou
t lib
eral
arc
hite
ctur
al p
ract
ices
. An
d
may
be
just
bec
ause
we
wer
e n
ew
to th
e W
est,
we
had
the
illu
sio
n w
e w
oul
d fin
d so
met
hin
g m
ore
pro
mis
ing
an
d vi
sio
nar
y.
We
wer
e q
uit
e d
isap
po
inte
d to
dis
-co
ver
that
lib
eral
pra
ctic
es in
arc
hite
c-tu
re d
idn
’t h
ave
real
po
litic
al a
nd
soci
al
con
cern
s. W
e kn
ew th
at in
the
UK
an
d
the
US
, wh
ere
ther
e w
as m
uch
less
w
ork
at t
he
time,
a fe
w a
rchi
tect
s w
ere
tryi
ng
to d
evel
op
oth
er s
trat
egie
s. S
tep
b
y st
ep w
e at
tem
pte
d, i
n th
e 19
90s,
to
dev
elo
p an
oth
er a
pp
roac
h, o
ne
that
w
as m
ore
po
litic
al b
ut i
nd
epen
den
t fr
om
po
litic
al lo
bb
ies
and
exp
eri-
men
ted
wit
h o
ther
way
s o
f pro
du
cin
g
spac
e. W
e st
arte
d to
dev
elo
p st
rate
-g
ies
and
tact
ics
for
pro
voki
ng
mo
re
fro
m a
use
r’s
per
spec
tive
an
d ac
ting
as
a ‘c
atal
yst’.
We
trie
d to
re-
po
sitio
n
our
selv
es –
nei
ther
at t
he
top
no
r at
the
bo
tto
m, b
ut s
om
ewh
ere
in b
etw
een
. Li
ke g
rass
, in
Del
euzi
an te
rms.
An
d it
w
as fr
om
this
po
sitio
n th
at w
e tr
ied
to
crea
te tr
ansv
ersa
l net
wo
rks.
Th
e cl
as-
sic
sho
rt-t
erm
, ab
stra
ct a
nd
top
-do
wn
as
sig
nm
ent d
oes
n’t
real
ly w
ork
wh
en
on
e w
ants
to in
ven
t pra
ctic
es e
mb
ed-
ded
in u
rban
rea
litie
s an
d ad
dre
ss th
e co
mp
lex,
mo
bile
, tra
nsc
ultu
ral d
ynam
-ic
s o
f eve
ryd
ay li
fe in
a b
ig c
ity.
In a
way
it’s
dif
ficu
lt to
say
wh
en a
ll th
is s
tart
ed. I
t act
ual
ly b
egan
bef
ore
o
ur
exp
erie
nce
s w
ith
aaa:
in th
e 19
90s
w
e h
ad tr
ied
to d
evel
op
som
e p
roje
cts
in R
om
ania
. All
the
rad
ical
ch
ang
es
had
left
a le
gal
vo
id in
the
po
litic
al s
ys-
tem
of E
aste
rn E
uro
pe.
So
we
too
k o
n
a b
rico
lag
e ap
pro
ach
to o
ur
pro
ject
s.
We
star
ted
aaa
wit
h th
e EC
Ob
ox
pro
ject
in P
aris
, an
d fo
r th
ree
year
s it
w
as a
bo
ut t
he
on
ly a
aa p
roje
ct, b
e-ca
use
it to
ok
all o
ur
ener
gy.
We
wer
e in
volv
ed in
this
pro
ject
in a
n ev
eryd
ay
kin
d o
f way
, bec
ause
we
wer
e al
so
inh
abit
ants
ther
e. In
oth
er w
ord
s, w
e liv
ed in
the
area
, wh
ich
mea
nt i
t was
n
ot a
n ex
tern
al p
roje
ct. I
t was
a v
ery
inte
rest
ing
exp
erie
nce
bu
t als
o ve
ry
inte
nse
an
d m
ore
or
less
a f
ull-
tim
e ac
tivi
ty. W
e cr
eate
d th
e p
reco
nd
itio
ns
for
the
pro
ject
an
d at
the
sam
e ti
me
for
the
gro
up
usi
ng
it. O
ur
stra
teg
y w
as to
p
rom
ote
sel
f-m
anag
emen
t. T
he
firs
t th
ree
year
s w
as a
form
ativ
e p
erio
d fo
r
the
gro
up
. Wh
en w
e h
ad to
mo
ve a
nd
th
e p
roje
ct d
isap
pea
red
as a
‘pla
ce’,
it
lived
on
as a
gro
up
and
this
gro
up
was
ab
le to
cla
im a
no
ther
sp
ace.
To
day
EC
Ob
ox
has
a n
ew s
pac
e an
d h
as b
e-co
me
ano
ther
sel
f-m
anag
ed, d
ynam
ic
pro
ject
. Fo
r a
few
mo
nth
s n
ow
, it h
as
bee
n ru
n b
y a
use
rs’ o
rgan
izat
ion
cr
eate
d b
y th
e p
eop
le in
volv
ed in
the
pro
ject
. We
keep
in c
on
tact
an
d tr
y to
m
ain
tain
so
me
kin
d o
f syn
erg
y.
Pm
/Hm
: Reg
ard
ing
the
invo
lvem
ent
of v
ario
us
com
mun
itie
s an
d d
iffe
ren
t p
rofe
ssio
ns
or
dif
fere
nt k
ind
s o
f act
iv-
ist g
rou
ps,
ho
w d
id th
e EC
Ob
ox p
roje
ct
bec
om
e a
real
co
mm
unal
pro
ject
an
d n
ot j
ust
a fo
rm o
f co
llab
ora
tion
b
etw
een
dif
fere
nt p
rofe
ssio
nal
s o
n
a te
mp
ora
ry a
rt p
roje
ct?
co
nst
anti
n P
etco
u: O
ur t
acti
c is
to
wo
rk o
ver
time
wit
h ve
ry lo
ng
-ter
m
com
mit
men
ts a
nd
som
ethi
ng
like
an
aaa
Wild
Cit
y, B
elg
rad
e, 1
999
-200
1S
emi-
leg
al c
om
mer
cial
act
ivit
ies
occ
up
y th
e p
avem
ent;
th
e u
pp
er fl
oo
r is
use
d as
a li
vin
g sp
ace
Wild
Cit
y, B
elg
rad
e, 1
999
-200
1A
pri
vate
, on
e-m
an b
usi
nes
s an
d a
pu
blic
tra
nsp
ort
co
mp
any
run
the
sam
e b
us
line
(wit
h b
use
s o
f dif
fere
nt
typ
e, s
ize
and
colo
ur)
No
mad
gar
den
Th
e p
rog
ress
ive
con
stru
ctio
n o
f th
e EC
Ob
ox
gar
den
bet
wee
n 20
02-2
004
in t
he
yard
of H
alle
Paj
ol,
in L
a C
hap
elle
are
a o
f Par
is. D
ism
antl
ing
, dis
pla
cin
g an
d
tem
po
rary
rei
nst
alla
tio
n o
n an
oth
er v
acan
t plo
t in
the
sam
e ar
ea in
200
5.
260
Par
alle
l Wo
rld
s In
terv
iew
261
Par
alle
l Wo
rld
s In
terv
iew
op
en tr
ansl
oca
l pla
tfo
rm. A
nu
mb
er
of c
on
dit
ion
s ar
e n
eces
sary
for
such
a
pro
ject
to s
urvi
ve, a
nd
the
first
o
ne
is to
giv
e it
time,
to w
ait a
nd
no
t to
pro
po
se a
nyth
ing
spec
ific
at th
e b
egin
nin
g. I
n th
e ca
se o
f EC
Ob
ox, w
e tr
ied
– fo
r p
olit
ical
an
d p
rag
mat
ic b
ut
also
eco
log
ical
rea
son
s –
to in
itia
te a
se
lf-m
anag
ed s
pac
e. A
pre
con
dit
ion
fo
r th
is w
as to
giv
e o
urse
lves
a lo
t of
time
to b
uild
up
peo
ple
’s c
on
fid
ence
in
us,
wh
eth
er th
ey w
ere
fro
m E
uro
pe,
C
entr
al o
r N
ort
h A
fric
a, In
dia
or
else
-w
her
e –
peo
ple
wh
o h
ad d
iffe
ren
t cu
ltur
al b
ackg
roun
ds
and
, I w
oul
d ev
en
say,
dif
fere
nt v
alu
e sy
stem
s. W
hat
was
m
ore
, th
ey a
ll h
ad d
iffe
ren
t no
tion
s o
f an
inst
itu
tion
, lo
cal l
ife,
co
llect
ive
spac
e, e
tc. S
o, w
e h
ad to
giv
e p
eop
le
tim
e to
un
der
stan
d a
nd
ag
ree
on
w
hat
kin
d o
f (n
on
-) in
stit
utio
n, g
rou
p
or
org
aniz
atio
n w
e w
ere,
bec
ause
it
was
no
t po
ssib
le to
cla
ssif
y u
s w
ithi
n
exis
ting
on
es. A
nd
bit
by
bit
, as
peo
ple
st
arte
d to
tal
k to
eac
h o
ther
, a lo
t of
oth
er p
eop
le a
rriv
ed a
nd
beg
an d
oin
g
thin
gs,
bec
ause
so
meb
od
y h
ad to
ld
them
that
ther
e w
as th
is p
lace
. Th
at
was
ho
w it
wo
rked
, th
ou
gh
no
t wit
ho
ut
con
flict
s, o
f co
urse
. We
trie
d n
ot t
o
com
mun
icat
e to
o m
uch
thro
ug
h th
e m
edia
, bec
ause
it w
as m
uch
bet
ter
to
let t
he
info
rmat
ion
circ
ulat
e th
rou
gh
a
phy
sica
l net
wo
rk, o
ne
that
had
a
cert
ain
pro
xim
ity.
Th
us,
ove
r tim
e, w
e su
ccee
ded
in e
stab
lishi
ng
a p
hysi
cal
net
wo
rk th
at w
as b
oth
tran
scul
tura
l an
d -s
oci
al. T
ho
ug
h so
meh
ow
the
net
wo
rk c
reat
ed it
self
; we
did
n’t
ac
tual
ly d
o an
ythi
ng
dir
ectl
y. W
e ju
st
enab
led
the
situ
atio
n, a
po
ssib
ility
, an
d
peo
ple
gen
erat
ed th
e d
ynam
ics
them
-se
lves
. So
this
was
on
e p
reco
nd
itio
n.
A s
eco
nd
on
e h
ad to
do
wit
h cl
aim
ing
sp
ace
and
mak
ing
it av
aila
ble
for
ex-
per
imen
tatio
n w
ith
wh
at w
e m
igh
t cal
l a
tran
slo
cal p
latf
orm
. By
chan
ce, w
e m
anag
ed to
ob
tain
a h
ug
e sp
ace,
an
d
this
sp
ace
– p
lus
all t
he
mo
bile
infr
a-st
ruct
ure
we
esta
blis
hed
(e.
g. a
ser
ies
of m
ob
ile m
od
ules
wit
h m
icro
-in
fra-
stru
ctur
es fo
r co
oki
ng
, so
und
& m
edia
, re
adin
g &
wri
ting
, jo
iner
y, c
om
po
stin
g,
rain
wat
er) –
cau
sed
peo
ple
gra
du
ally
to
pro
po
se c
erta
in a
ctiv
itie
s: c
ultu
ral
even
ts a
nd
eco
no
mic
act
ivit
ies,
po
li t-
ical
mee
ting
s an
d d
ebat
es.
In fa
ct, w
e d
idn
’t d
o m
uch
bu
t rat
her
le
t thi
ng
s b
e, c
reat
ing
a p
oss
ibili
ty fo
r th
ing
s to
ap
pea
r o
r h
app
en, e
nab
ling
a
cert
ain
mo
men
tum
, so
met
hin
g th
at
do
esn
’t h
app
en in
a ‘n
orm
al’ i
nst
itu
tion
o
r ur
ban
str
uct
ure.
No
bo
dy
exp
ects
p
eop
le to
pro
po
se a
n ac
tivi
ty a
nd
, fo
r u
s as
art
ists
, thi
s w
as v
ery
inte
rest
ing
.
Of c
our
se w
e al
so h
ad o
ur o
wn
net
-w
ork
of f
rien
ds
and
con
nec
tion
s, w
hich
w
as im
po
rtan
t at t
he
star
t an
d g
ave
us
som
e in
itia
l ori
enta
tion
, bu
t eve
ryth
ing
af
terw
ard
s d
epen
ded
on
the
peo
ple
in-
volv
ed. T
hey
bu
ilt u
p an
oth
er n
etw
ork
, w
ho
se d
ynam
ics
wer
e m
ulti
-lay
ered
: fo
r ex
amp
le, l
ast y
ear
this
net
wo
rk
focu
sed
mo
re o
n m
edia
, i.e
. tac
tica
l m
edia
. Bef
ore
that
, th
e n
etw
ork
had
b
een
ori
ente
d m
ore
tow
ard
s ar
chi-
tect
ural
eco
-des
ign
and
alte
rnat
ive
ener
gy,
bec
ause
thes
e w
ere
com
pat
-ib
le w
ith
the
inte
rest
s o
f th
e p
eop
le
invo
lved
. So
it h
as a
ll b
een
div
erse
an
d
flex
ible
. Eve
ryth
ing
dep
end
s o
n w
ho
g
ets
invo
lved
– u
ltim
atel
y I t
hin
k w
e ca
n sp
eak
her
e o
f tem
po
rary
net
wo
rks
that
cre
ate
last
ing
pro
ject
s.
Pm
/Hm
: Ho
w c
an o
ne
shar
e th
e ex
-p
erie
nce
of s
uch
a n
etw
ork
ed p
roje
ct
wit
h a
mo
re tr
ansl
oca
l au
die
nce
, be
it
thro
ug
h ex
hib
itio
ns,
su
ch a
s th
e b
erlin
b
ien
nia
l fo
r co
nte
mp
ora
ry a
rt, a
s in
yo
ur c
ase,
or
arch
ival
str
uct
ures
?
co
nst
anti
n Pe
tco
u: O
ur s
trat
egy
is n
ot
just
‘arc
hite
ctur
al’ –
it’s
als
o p
olit
ical
. A
nd
in a
way
, th
e p
roje
ct is
bo
th s
oci
al
and
arti
stic
. Wh
en I
say
arti
stic
, I m
ean
‘a
rt’ a
s a
‘fre
e sp
ace’
for
arch
itec
ture
. Fo
r an
‘arc
hite
ct’,
way
s o
f pro
du
cin
g
spac
e ar
e ve
ry s
tan
dar
diz
ed a
nd
re
stri
cted
by
no
rms
and
reg
ulat
ion
s,
wh
erea
s fo
r an
‘art
ist’,
ther
e’s
mu
ch
mo
re fr
eed
om
to d
o th
ing
s. S
o w
e w
ante
d to
go
bey
on
d th
e n
orm
s o
f ar
chit
ectu
re b
y o
pp
ort
unis
tica
lly u
sin
g
ano
ther
mo
de
of s
pat
ial p
rod
uct
ion
, i.e
. an
‘art
isti
c’ o
ne.
Bu
t su
ch tr
ans-
fere
nce
can
be
crit
ical
. We
kno
w, o
f co
urse
, th
at a
n ar
t sp
ace
or
com
mis
-si
on
can
also
be
rath
er li
mit
ing
at
times
, bu
t wh
at w
e w
ante
d fr
om
it
was
the
op
po
rtun
ity
to c
riti
cize
bo
th
arch
itec
ture
an
d ar
t pro
du
ctio
n b
y d
oing
thin
gs
in a
dif
fere
nt w
ay. I
n th
is
sen
se o
ur a
ppro
ach
is b
oth
inte
rdis
cip
-lin
ary
and
extr
adis
cip
linar
y. W
e tr
y to
be
extr
adis
cip
linar
y as
arc
hite
cts
and
crit
ical
ly p
ush
the
limit
s o
f our
pro
fess
ion
, whi
ch is
, I g
ues
s, o
ne
of t
he
reas
on
s w
hy w
e’re
invi
ted
to e
xhib
it,
to s
ho
w in
su
ch s
pac
es. I
n re
alit
y,
ho
wev
er, w
e d
on
’t sh
ow
any
thin
g
in a
usu
al w
ay. R
ath
er w
e u
se th
e ar
t sp
ace
to p
rod
uce
pro
ble
ms
and
to
sh
are
them
wit
h o
ther
s. T
his
was
th
e ca
se w
ith
the
ber
lin b
ien
nia
l an
d
the
GA
K (G
esel
lsch
aft f
ür A
ktu
elle
K
unst
) in
Bre
men
, as
wel
l as
oth
er a
rt
even
ts a
nd
ven
ues
wh
ere
we
use
d th
e ex
hib
itio
n to
cre
ate
a w
ork
spac
e fo
r a
self-
org
aniz
ed te
am, a
nd
the
inst
itu
-tio
nal
fram
ewo
rk a
s an
op
po
rtun
ity
for
peo
ple
wit
ho
ut m
ean
s to
do
crit
ical
w
ork
an
d h
ave
visi
bili
ty: t
he
spac
es w
e h
ave
crea
ted
flu
ctu
ate
bet
wee
n b
ein
g
Par
tici
pat
ion
and
self
-man
agem
ent
Th
e co
llect
ive
pro
gra
mm
ing
of a
ctiv
itie
s w
as b
ased
on
a fl
exib
le u
se o
f sp
ace
and
the
use
rs’ p
arti
cip
atio
n
in it
s m
ain
ten
ance
. Th
is h
as p
rog
ress
ivel
y co
nd
uct
ed t
o th
e se
lf-m
anag
emen
t of t
he
pro
ject
.EC
Ob
ox
gar
den
, Par
is, 2
002-
2004
No
mad
gar
den
262
Par
alle
l Wo
rld
s In
terv
iew
263
Par
alle
l Wo
rld
s In
terv
iew
Pm
/Hm
: Yo
u’r
e co
ord
inat
or
of t
he
A
LMO
STR
EAL
pro
ject
at t
he
Euro
-p
ean
Cul
tura
l Fo
und
atio
n (E
CF)
in
Am
ster
dam
. Wh
at a
re th
e m
ain
go
als
of t
his
net
wo
rkin
g p
roje
ct a
nd
ho
w d
o
they
rel
ate
to th
e EC
F’s
mis
sio
n m
ore
g
ener
ally
?
igo
r d
ob
rici
c: T
he
ECF
is a
cul
tura
l fo
und
atio
n, w
hich
mea
ns
we’
re n
ot a
n
art f
oun
dat
ion
and
we’
re n
ot f
und
ing
‘a
rt fo
r ar
t’s
sake
’. S
o w
e’ve
a c
erta
in
soci
al a
nd
cult
ural
ag
end
a fo
r fu
nd
ing
ar
t, an
d th
is in
volv
es s
earc
hin
g fo
r a
spec
ial k
ind
of a
rt th
at h
as s
oci
al
rele
van
ce. B
ut w
e h
ave
no
tice
d th
at
fun
din
g p
olic
ies
oft
en c
reat
e a
par
ticu
-la
r ki
nd
of a
rt in
stea
d o
f dis
cove
rin
g
it. F
oun
dat
ion
s in
vest
in w
hat
they
co
nsi
der
‘en
gag
ed a
rt’ a
nd
by
do
ing
so
mak
e th
is a
rt p
oss
ible
. Esp
ecia
lly
in e
aste
rn E
uro
pe
a lo
t has
hap
pen
ed
that
has
mad
e ar
tist
s ch
ang
e h
ow
they
w
ork
in o
rder
to g
et f
und
ing
– th
is is
an
en
tirel
y un
sati
sfac
tory
dev
elo
pm
ent.
A
s a
fun
din
g b
od
y, o
ne
sho
uld
n’t
cr
eate
an
art
sce
ne
thro
ug
h t
he
way
o
ne
inve
sts
mo
ney
, bu
t rat
her
fig
ure
o
ut h
ow
to id
enti
fy a
spec
ts t
hat
ar
e es
pec
ially
so
cial
ly r
elev
ant i
n
exis
tin
g a
rt p
ract
ices
. Fu
nd
s sh
ou
ld
no
t be
allo
cate
d to
par
ticu
lar
kin
ds
of
pra
ctic
es, b
ut t
o p
ract
ices
ind
ivid
ual
ly
sele
cted
for
thei
r sp
ecifi
c ch
arac
teri
s-ti
cs. A
LMO
STR
EAL
mar
ks a
n h
on
est
atte
mp
t – h
ow
ever
clu
msy
it m
igh
t se
em –
to m
ove
away
fro
m in
stru
men
-ta
lizin
g th
e ar
ts v
ia f
und
ing
po
licie
s an
d to
war
ds
fun
din
g th
ose
pro
ject
s in
ar
t wh
ose
rel
evan
ce is
n’t
dep
end
ent
on
thei
r so
urce
s o
f fin
anci
al s
up
po
rt.
Wh
at’s
mo
re, t
he
resu
lts
of f
und
ing
o
ften
are
n’t
sust
ain
able
in th
e lo
ng
run
. Le
t’s
say
you
’re
fun
din
g a
cert
ain
acti
v-it
y an
d yo
u’r
e d
oin
g th
is s
om
ewh
ere
in E
uro
pe
wh
ere
few
er r
eso
urce
s ar
e av
aila
ble
. Wel
l, th
e m
om
ent y
ou
pul
l ou
t, th
is a
ctiv
ity
bre
aks
do
wn
, b
ecau
se th
ere’
s n
ob
od
y to
tak
e ov
er.
So
our
maj
or
stra
teg
y w
ith
resp
ect t
o
this
pro
ble
m is
to s
timul
ate
allia
nce
s,
colla
bo
ratio
ns
and
par
tner
ship
s, a
nd
th
e cr
eatio
n o
f a s
pec
ific
net
wo
rk –
or
a n
um
ber
of o
verl
app
ing
net
wo
rks.
T
hes
e n
etw
ork
s d
evel
op
bet
wee
n
arti
sts
and
pra
ctit
ion
ers,
wh
o ar
e su
pp
ort
ed b
y u
s so
they
can
cre
ate
pla
tfo
rms.
Th
e as
sum
ptio
n is
that
this
ki
nd
of n
etw
ork
ing
wit
h it
s ex
chan
ge
of i
nfo
rmat
ion
and
flo
w o
f res
our
ces
will
su
stai
n ea
ch in
div
idu
al o
rgan
iza-
tion
bet
ter.
Thi
s h
as b
een
an im
po
rtan
t p
oin
t in
info
rmin
g th
e st
ruct
ure
of
ALM
OS
TREA
L.
An
oth
er im
po
rtan
t asp
ect o
f th
e p
roje
ct is
that
wh
en w
e co
ord
inat
e an
d fu
nd
we
try
to u
se th
e sa
me
too
ls
as th
e ar
tist
s th
emse
lves
are
usi
ng
. In
o
ther
wo
rds,
we
actu
ally
wan
t to
do
w
hat
we
pre
ach
. In
this
pro
ject
we
try
to o
per
ate
and
inte
ract
wit
h o
ur p
art-
ner
s b
y lo
oki
ng
at h
ow
they
– a
rtis
ts
or
art c
olle
ctiv
es o
r ar
t in
itia
tive
s –
o
per
ate.
Thi
s al
so m
ean
s w
e cr
eate
a
stru
ctur
e th
at is
un
usu
al fo
r va
rio
us
reas
on
s. T
his
stru
ctur
e is
evo
lvin
g an
d
con
tinu
ou
sly
chan
gin
g –
to a
dan
ger
-o
us
po
int o
f rad
ical
fu
zzin
ess
– th
rou
gh
th
e in
pu
t of p
eop
le w
ho
hav
e b
eco
me
our
par
tner
s. S
o w
e cr
eate
a c
erta
in
net
wo
rk w
ith
a n
um
ber
of i
nte
rest
ing
org
aniz
atio
ns,
ind
ivid
ual
s an
d ar
tist
s,
and
then
we
enco
urag
e th
em to
re-
crea
te it
wit
h th
eir
inp
ut a
nd
crit
ical
th
inki
ng
, an
d th
is m
akes
it c
han
ge
and
ev
olv
e ac
cord
ing
ly.
Pm
/Hm
: In
your
wri
ting
s yo
u in
tro
du
ce
inte
rcul
tura
l co
mp
eten
ce –
rat
her
than
th
e rh
eto
ric
of i
nte
rcul
tura
l dia
log
ue
– as
a m
ore
mea
nin
gfu
l co
nce
pt f
or
faci
litat
ing
an u
nd
erst
and
ing
of d
iffe
r-en
ce. H
ow
can
inte
rcul
tura
l co
mp
e-te
nce
be
pro
mo
ted
thro
ug
h a
fun
din
g
bo
dy
like
the
ECF?
igo
r d
ob
rici
c: C
om
pet
ence
imp
lies
mak
ing
an e
ffo
rt to
lear
n, w
hich
is w
hy
it’s
mo
re a
pp
ealin
g th
an th
e n
otio
n
of d
ialo
gu
e, w
hich
is e
asily
tak
en fo
r g
ran
ted
as s
om
e ki
nd
of i
nb
orn
, Go
d-
giv
en a
bili
ty. I
thin
k n
otio
ns
of l
earn
-in
g/e
du
catio
n/s
oci
al e
man
cip
atio
n ar
e cr
uci
al fo
r a
dif
fere
nt a
pp
roac
h to
war
d
pro
ble
ms
of d
iffe
ren
ce. B
y ca
llin
g it
co
mp
eten
ce w
e al
so fo
rce
our
selv
es
to c
lear
ly id
enti
fy e
xact
ly h
ow
we’
re
faili
ng
tod
ay to
‘tea
ch a
nd
tran
smit
this
co
mp
eten
ce’.
I was
at a
co
nfe
ren
ce r
e-ce
ntl
y o
n in
terc
ultu
ral c
om
mun
icat
ion
–
yet a
no
ther
su
ch te
rm –
in G
eno
a,
Ital
y: a
hig
hly
aca
dem
ic e
ven
t in
a p
ort
ci
ty f
ull o
f im
mig
ran
ts. Y
ou
had
thes
e 20
peo
ple
sit
ting
in G
eno
a’s
Cit
y H
all,
this
bea
uti
ful R
enai
ssan
ce r
oo
m, d
is-
cuss
ing
the
issu
e o
f in
terc
ultu
ral c
om
-
a p
ub
lic a
nd
/or
mee
ting
spac
e, w
ork
-sh
op
or
even
per
son
al s
pac
e, if
nec
es-
sary
. In
Ber
lin w
e h
ad a
sm
all s
pac
e fo
r ‘c
oo
kin
g id
eas’
wit
h tw
o co
nfe
ren
ce
tab
les;
ste
p b
y st
ep w
e u
sed
the
wo
od
fr
om
the
tab
les
to c
on
stru
ct a
mo
bile
ur
ban
kit
chen
, whi
ch w
as th
en t
aken
o
ut i
nto
the
city
. Wh
at w
e sh
ow
ed o
r,
let’
s sa
y, ‘m
ade
visi
ble
’ was
a m
eetin
g-
wo
rkin
g-c
oo
kin
g sp
ace
acce
ssib
le to
a
larg
e n
um
ber
of p
eop
le. A
ll th
ese
exp
erie
nce
s h
ave
bee
n d
ocu
men
ted
as
pro
cess
es, w
hich
mea
ns
we
no
w h
ave
a ra
ther
big
vid
eo a
rchi
ve th
at in
clu
des
m
ost
of t
he
pro
ject
s w
e’ve
par
tici
pat
ed
in. A
nd
we
ho
pe
that
on
e d
ay, i
n ad
d-
itio
n to
cap
turi
ng
mem
ori
es o
f our
pas
t ex
per
ien
ces,
this
arc
hive
will
bec
om
e a
reso
urce
for
oth
ers.
Tra
nsm
issi
on
m
igh
t als
o b
e ca
lled
a p
reco
nd
itio
n
for
pro
ject
s o
f thi
s ki
nd
. We
tran
smit
p
roje
cts
in m
any
way
s: fi
rst k
no
w-h
ow
is
pas
sed
dir
ectl
y o
n to
oth
ers
whi
le
the
pro
ject
is b
ein
g im
ple
men
ted
and
ex
per
ien
ced
(as
was
the
case
wit
h
ECO
box
); a
nd
then
sp
ecifi
c tr
ans-
mis
sio
n to
ols
are
cre
ated
, fo
r in
stan
ce,
an a
rch
ive
acce
ssib
le u
nd
er c
erta
in
con
dit
ion
s to
eve
ryb
od
y in
tere
sted
, an
infr
astr
uct
ural
bas
e th
at c
an b
e
bo
rro
wed
or
shar
ed a
s w
ell a
s lo
ng
-te
rm a
ssis
tan
ce a
nd
frie
nd
ship
.
igor dobricic
Mo
bile
mo
du
les
A n
um
ber
of m
od
ule
s (k
itch
en, t
oo
l ban
k, r
adio
sta
tio
n, l
ibra
ry, w
ater
co
llect
or)
hav
e b
een
real
ized
b
y aa
a an
d in
hab
itan
ts, a
rtis
ts a
nd
stu
den
ts. T
hey
co
nst
itu
te t
he
elem
ents
of a
mo
bile
arc
hit
ectu
re
wh
ich
allo
w m
ult
iple
co
mb
inat
ion
s o
f sp
ace
and
use
, mix
ing
dif
fere
nt p
ub
lics
and
use
rs.
Bef
ore
an
d A
fter
th
e S
ho
w
Sem
inar
, Lis
bo
n, 1
0-1
1 Ju
ne
2006
ALM
OS
TREA
L
264
Par
alle
l Wo
rld
s In
terv
iew
265
Par
alle
l Wo
rld
s o
f Sel
f-E
du
cati
on
, Sel
f-O
rgan
izat
ion
and
Sel
f-E
mp
ow
erm
ent,
an
d th
e Q
ues
tio
n o
f Bio
po
litic
s
mun
icat
ion
– al
l ver
y hi
gh
-lev
el, v
ery
inte
llig
ent,
very
insi
gh
tful
. Yet
no
ne
of t
his
info
rms
any
kin
d o
f pra
ctic
e.
Wh
en y
ou
step
ou
t of C
ity
Hal
l on
to th
e st
reet
, yo
u’r
e co
nfr
on
ted
by
the
real
ity
of G
eno
a, f
ull o
f Afr
ican
imm
igra
nts
, w
hich
was
why
the
con
fere
nce
was
o
rgan
ized
in th
e fir
st p
lace
. Fo
r th
e m
ost
par
t, th
ese
two
wo
rld
s re
mai
n
sep
arat
e. A
nd
the
rad
ical
ism
of t
his
se
par
atio
n an
d th
e sh
eer
sho
ck o
f m
ovin
g b
etw
een
thes
e tw
o w
orl
ds
– th
at e
xist
in th
e sa
me
city
scap
e an
d
don
’t co
mm
unic
ate
at a
ll –
are
quite
dis
-tu
rbin
g. S
o to
trig
ger
an
und
erst
and
ing
and
exch
ang
e o
f dif
fere
nce
s, r
ath
er
than
reg
rett
ing
the
lack
of s
har
ed
iden
titie
s, w
e tr
uly
nee
d to
ad
dre
ss th
e re
alit
y o
f par
alle
lism
an
d se
par
atio
n.
Th
e fir
st th
ing
invo
lved
is a
co
mp
eten
t en
gag
emen
t wit
h d
iffe
ren
ce, a
nd
the
seco
nd
, th
e h
op
e th
at a
rt w
ill b
e ab
le to
p
rovi
de
a p
lace
wh
ere
this
en
coun
ter
can
be
exp
lore
d in
a v
ery
com
ple
x an
d
sop
hist
icat
ed –
as
wel
l as
acce
ssib
le
and
exp
erie
ntia
l – fo
rm. T
ho
ug
h th
is
do
esn
’t n
eces
sari
ly h
ave
to b
e d
on
e o
n a
gra
nd
scal
e, b
ut w
ith
ho
nes
ty a
nd
w
ith
ou
t fea
r o
f mis
und
erst
and
ing
s an
d
con
fro
nta
tion
s. F
or
curr
entl
y th
e ex
-p
lora
tion
of d
iffe
ren
ce in
cul
tura
l an
d
soci
al p
ract
ice
is n
ot r
eally
hap
pen
ing
o
n a
seri
ou
s le
vel d
ue
to fe
ar.
To g
ive
an e
xam
ple
of t
he
pre
cio
us
ex-
per
ien
ces
that
sm
all o
rgan
izat
ion
s ca
n
have
in th
e co
nte
xt o
f an
alte
rnat
ive
/ in
dep
end
ent c
ultu
ral s
cen
e, I
wo
uld
like
to m
entio
n th
e B
alka
n re
gion
, wh
ere
tho
se w
ho
are
dea
ling
or o
per
atin
g in
th
e p
roxi
mit
y o
f th
e ‘n
ew’ a
lter
nat
ive
med
ia s
cen
e ar
e co
mm
unic
atin
g
the
mo
st e
ffici
entl
y ac
ross
nat
ion
al
bo
und
arie
s in
the
arts
at t
he
mo
men
t.
Th
ey’v
e d
evel
op
ed a
nd
per
fect
ed c
er-
tain
ski
lls a
nd
stra
teg
ies
that
are
qu
ite
fasc
inat
ing
in th
e co
nte
xt o
f Bal
kan
fr
agm
enta
tion
. I d
on
’t se
e an
y o
ther
ar
tist
ic d
isci
plin
e o
r g
rou
p d
oin
g th
e sa
me.
So
for
us
and
ALM
OS
TREA
L,
it h
as b
een
real
ly in
tere
stin
g to
focu
s o
n a
few
key
org
aniz
atio
ns
– ku
da.
org
an
d P
REL
OM
in S
erb
ia, W
HW
in
Cro
atia
, pro
.ba
in B
osn
ia –
an
d tr
y to
d
evel
op
a se
ries
of a
ctiv
itie
s w
ith
them
th
at w
e w
oul
d w
ant t
o su
pp
ort
.
ALM
OS
TREA
L w
ork
s fr
om
the
pre
mis
e o
r b
elie
f th
at th
e p
ow
er o
f art
ste
ms
fro
m th
e fa
ct th
at b
y n
atur
e ar
tist
ic
acti
vity
dea
ls w
ith
dif
fere
nce
in, w
hat
I m
igh
t cal
l, a
fun
dam
enta
l, ex
iste
ntia
l w
ay; i
.e. i
nd
ivid
ual
dif
fere
nce
is s
een
as a
per
son
al g
iven
, as
a st
ruct
ure
of
con
scio
usn
ess.
I th
ink
anyb
od
y w
ho
ai
ms
at p
rog
ram
mat
ical
ly e
xpo
sin
g
or
acco
mm
od
atin
g th
e d
iffe
ren
ces
in
oth
er in
div
idu
als
wit
ho
ut r
efer
rin
g to
hi
s o
r h
er o
wn
inte
rnal
pro
cess
es o
f d
iffe
ren
tiatio
n an
d al
ien
atio
n is
do
ing
so
met
hin
g o
ther
than
art
. As
an a
rtis
t yo
u so
meh
ow
kn
ow
that
it’s
imp
os-
sib
le to
car
ry o
ut a
so
cial
or
po
litic
al
mis
sio
n w
ith
ou
t mak
ing
and
un
der
-st
and
ing
it as
a p
erso
nal
, in
tern
aliz
ed
issu
e. If
the
mis
sio
n to
‘ch
ang
e th
e w
orl
d’ i
s co
mp
lete
ly e
xter
nal
ized
, th
e ar
tist
can
no
lon
ger
pra
ctic
e ar
t; h
e o
r sh
e is
do
ing
som
eth
ing
else
an
d
imm
edia
tely
bec
om
es im
plic
ated
as
mer
ely
ano
ther
pla
yer
in th
e so
cial
g
ame
of p
ow
er. A
nd
fro
m g
ame
theo
ry
we
kno
w: i
t’s
very
har
d to
ch
ang
e th
e ru
les
of a
gam
e if
you
’re
fully
imp
li-ca
ted
in it
. Sin
ce w
e liv
e in
a li
ber
al
cap
ital
ist c
on
text
, we
all e
xper
ien
ce
this
dif
ficu
lty
qu
ite
per
son
ally
. Th
is
refe
ren
ce to
the
oth
ern
ess
in u
s is
lik
e a
sid
e ex
it fr
om
the
maz
e, a
pla
ce
wh
ere
the
soci
al g
ame
dis
solv
es in
to
the
pro
cess
of p
erso
nal
tran
sfo
rma-
tio
n. A
nd
this
is w
her
e I s
ee th
e ro
le o
f ar
tist
ic p
rod
uct
ion
: in
exer
cisi
ng
and
ex
plo
rin
g st
rate
gie
s o
f ch
ang
e th
at
in m
any
dif
fere
nt w
ays
go
bey
on
d
self
-exp
ress
ion
(id
enti
ty),
bu
t alw
ays
pro
ceed
fro
m s
elf-
exam
inat
ion
(d
iffe
ren
ce).
The question of self-education, self- organization and self-empowerment is one of structural and institutional possi-bility, economy and agency in the deeply unbalanced (biopolitical) space of Europe. The process of self-empowerment is to be seen as a critique of contemporary official and institutionalized structures of presentation, mediation and articulation that concentrate in the last instance on only taking care of themselves.
First World capitalism has recently lost interest in former Eastern European space. Or rather, it never actually had any profound interest in it. This situation can be understood only on the level of the internal developments of contempor-ary global capitalism and in light of the fact that a once-divided Europe is grad-ually disappearing; it is now regarded as a union of ‘Europeans’. Reasons for this sudden but complete indifference to Eastern Europe at the heart of Europe vary. Though all of them are connected
with financial capital, the prevalent form of contemporary capital that
accumulates differentially through circu-lation. Past divisions and the ideology of difference within Europe are seen as an obstacle to such circulation. Behaving as if Europe is already one common space makes it unnecessary to push inclusion through exclusion; instead it is enough to behave as if differences no longer exist. We all become identi-cal through a process of evacuation, one that David Harvey defines as ‘accu-mulation by dispossession’ in his Brief History of NeoLiberalism. ‘Accumulation by dispossession’ was and is a process of expulsion, one that negates the pos-session of any possible difference. And where required for its completion, legal means have been used in combination with institutional, legislative, bureau-cratic, infrastructural, theoretical and cultural devices. The process of ‘accumu-lation by dispossession’ may no longer be underway in Europe; many see it as already completed here. Yet it is still in progress elsewhere, for example in the Third World.
As a consequence of this change, Chris Wright and Samantha Alvarez argue against David Harvey’s ‘accumulation by dispossession’ in their article ‘Expropriate, Accumulate, Financialise’. Instead they propose another process characteristic for financial capital, one described by Michael Hudson in Super Imperialism in 1972 (and republished in 2003). Hudson says that we are witnessing a process that, instead of gaps in distribution, displays the contrary; he terms it ‘the imperialism of circulation’. In my view, these processes cannot be seen as a simple shift between modes of accumulation of capital (one relegating ‘accumulation by dispossession’ to the sidelines): rather the one has constituted (through dispossession) the para meters for the other in order to dominate the present moment.
I have sketched out some of the most interesting aspects in the important debate about questions of accumulation and redistribution of financial capital. They have to be seen as constituting the back-drop for all serious debate on what has to be done at present with regard to ques-tions of agency for possible emancipative politics within and/or against global cap-italism. But what is particularly important for now is the process of what, in relation to Hudson, we may call the ‘imperialism of endless circulation’, a process that has its equivalent in another process, one
Para
llel W
orld
s o
f sel
f-e
du
cati
on,
sel
f-o
rgan
izat
ion
an
d s
elf-
em
pow
er m
ent,
an
d t
he
Q
ues
tio
n o
f Bio
po
litic
s m
arin
a G
ržin
ic
‘it w
ill b
e w
hat
we
mak
e it
’ P
rep
arat
ory
mee
tin
g, L
isb
on
, 1-3
Ju
ly 2
007
ALM
OS
TREA
L‘K
arim
a m
eets
Lis
bo
a m
eets
Mig
uel
mee
ts C
airo
’A
LMO
STR
EAL
266
Par
alle
l Wo
rld
s o
f Sel
f-E
du
cati
on
, Sel
f-O
rgan
izat
ion
and
Sel
f-E
mp
ow
erm
ent,
an
d th
e Q
ues
tio
n o
f Bio
po
litic
s
267
Par
alle
l Wo
rld
s o
f Sel
f-E
du
cati
on
, Sel
f-O
rgan
izat
ion
and
Sel
f-E
mp
ow
erm
ent,
an
d th
e Q
ues
tio
n o
f Bio
po
litic
s
I can describe simply by referring to Jelica Šumic-Riha’s article ‘Jetniki Drugega, ki ne obstaja’ (‘Prisoners of the Inexistent Other’). According to her, what is impos-sible in today’s world of capitalism is impossibility as such.
The imperialism of circulation without differences as the primary logic behind the conditions that produce global finan-cial capitalism implies that what is being produced is money as financial power, though this bubble is also sure to burst sooner or later. Nevertheless, capital has only one agenda – surplus value – and this is more than just a programme or a Hollywood film conspiracy; it is a driving force. In its frantic attempt for ever more possibilities, the imperialism of circula - tion prevents subversion and the attack of a master entity. Everything circulates, is exchanged and clearly dispossessed of any difference; no obstacles are to be seen in the network that structures reality for us. Those once perceived as enemies – from individuals to institutions – are behaving as if we were all mired in the same situation and, now united, have to find the remedy to our problems and obstacles (which they created in the first place, though they forgot this imme-diately). Today it is impossible to say something is impossible.
Or to put it differently: in the past, sub-versive acts were possible as they were subversion against an unmistakable ‘fore-closure’ and division in society. The big Other, the virtual symbolic order or the network that structured and continues to structure reality for us, was what gave things ‘a consistency’ and nearly guaran-teed interventions against it. The world today presents itself in an endless circu-lation (imperialism is an excellent con-cept to capture this force), and it is seen as ‘friendly’ and as an endless exchange. Therefore to solve expropriation, enslave-ment and neo-colonial interventions by capital, a single measure is proposed – ‘coordination’ (are we really so dumb as to pursue such a theory?). Of course those proposing this have a card up their sleeve: in order for things to circulate smoothly, it is necessary to coordinate things successfully, and this also means getting rid of those who still bother us with social and class antagonisms.
Setting boundaries for this inconsistency of the big Other means to act. Acting changes the very coordinates of
such impossibility. For it is only by acting that I can effectively assume the non-existence of the big Other. This not only implies that I have to take the represen-tation and articulation of a division into my own hands in order to set the bound-ary within this cynical situation, one in which the only thing that is impossible is impossibility as such, but it also, as argued by Šumic-Riha, implies that it is necessary to build the framework to effect a ‘foreclosure’ that will set the parameters and provide the coordinates of the polit-ical act. And yet, as Šumic-Riha reminds us and Jacques Lacan already argued in Seminaire XVI, if discourse has no foreclosure it does not necessarily mean an end is impossible. On the contrary: due to the disappearance of foreclosure, this topic is continually part of the agenda.
To recapitulate, what is impossible today is impossibility as such. This has clear repercussions on the level of resistance. But first to an example of a political act that does away with the inconsistency and non-existence of the big Other, and frees itself from being a hostage of the Other: the project Zavzemamo prostor/ WIR GREIFEN RAUM by the Research Group on Black Austrian History and Presence from Vienna, with its core members Araba Evelyn Johnston-Arthur and Belinda Kazeem, analyses the struc-tural settings of contemporary racism, chauvinism and enslavement. With a statement in Slovenian and German,
Zavzemamo prostor/WIR GREIFEN RAUM, (WE ARE SEIZING AND CLAIMING SPACE) displayed as of July 2007 on a gigantic banner on the roof of the Pavel House – an intercultural meeting place and centre for the Slovenian minority in Laafeld, Austria – the Research Group connects two pressing issues of Austrian political and social reality.
Their first claim relates to Article 7, Paragraph 3 of the Austrian State Treaty concerning the rights of the Slovenian and Croatian minorities that stipulates: ‘In administrative and judicial areas of Carinthia, Burgenland and Styria with Slovenian, Croatian and mixed popula-tions, the Slovenian and Croatian lan-guages, besides German, shall be per-mitted as official languages. Signposts and signs in these areas shall be in the Slovenian and Croatian as well as German languages.’ Thus Article 7, Paragraph 3 of the Austrian State Treaty unambiguously defines the installation of bilingual signs. A problem arises because the Article does not define the areas or criteria for their installation, and so leaves room for interpretation (from 92 to 394 signposts). Ultimately there is the request to install a total of 394 bilingual signs, i.e. in all areas with more than 10 percent Slovenian-speaking inhabitants. The project of the Research Group on Black Austrian History and Presence must be seen as a precise intervention in this context. Their second claim relates to the group’s aim of decolon-izing Austrian history from established prejudices and recurring racist stereo-types that have been structurally, institu-tionally and historically incorporated into the present reality of the country.
A declaration of existence is the first step, argues Šumic-Riha, but what fol-lows is the rigorous practice and logics of consequences in which the impossibil-ity of the foreclosure of the capitalist dis-course turns into the condition of a new possibility. It is the act that interrupts the consistency of the situation – indeed, it is the step outside. The Research Group on Black Austrian History and Presence explores the histories associated with our represen tational politics and how we reposition ourselves within a certain social, economic and political territory.
Global capitalism functions via the en actment of an iron law of worldwide
sameness, and this is precisely what makes it possible for us to speak of
a global world! (Capital is global!) Global capitalism means only capital is universal and free to move everywhere; capital is the only fully global citizen on our planet. Capital transforms processes of thinking into skills, depriving those who study and, therefore, ‘the future citizens of the world without a world’ of sustain-able political and acting coordinates. The system of education becomes unified and ‘easily understandable’ and, even more important, easily transferable; educa-tion becomes a transparent machine for production and the circulation of skills. Therefore interventions by the EU, and beyond the EU, in education and know-ledge have a precise agenda: to transform universities and academies into manager-ial institutions that will produce skilled students as future managers and sub-missive citizens. This agenda seems to be progressing well if we think of the current entrepreneurial applications at univer-sities promoted by the Bologna Process. The Bologna Process, with its implemen-tation of problematic reforms in edu- cation that dissociate education from social and political thought, is an EU ini-tiative aiming to standardize education across the European continent and in the United States. It obviously favours industry or entrepreneurial applications and is against those practices of art that do not have the authority or institutional sanctioning of more traditional forms of art training.
On the one hand, we see the progres-sive privatization of education, a trend that is in stark opposition to what was propagated not too long ago as a mile-stone of neoliberal democracy, with its ideal of untouchable public space (which is also undergoing progressive privatiza-tion). On the other hand, in reference to Walter Mignolo, we see the devaluation of education. But privatization also means the privatization of histories, data, facts and views through a system that bears a paradoxical name: the universalization of knowledge. Though it should actually be obvious that only some histories and facts, views and systems – those of the ruling class – count as universal histor ies and universal views for all possible localities. Knowledge is not just a corpus formed from the ‘outside’ through admin-istrative regulations and infrastructural deregulations. Inside it also hides class antagonisms and a colonial past.
Zavz
emam
o p
rost
or/
WIR
GR
EIFE
N R
AU
M, b
ann
er b
y th
e R
esea
rch
Gro
up
on
Bla
ck A
ust
rian
His
tory
an
d
Pre
sen
ce f
rom
Vie
nn
a, A
rab
a E
vely
n Jo
hn
sto
n-A
rth
ur
and
Bel
ind
a K
azee
m, p
lace
d o
n th
e ro
of o
f Pav
el H
aus
(Pav
el h
ou
se) i
n La
afel
d, A
ust
ria
(fro
m J
uly
200
7 o
n),
as
par
t of t
he
exh
ibit
ion
pro
ject
To
po
scap
es: I
nte
rven
tio
ns
into
So
cio
-cu
ltu
ral a
nd
Po
litic
al S
pac
es, c
ura
tors
Mar
ina
Grž
inic
& W
alte
r S
eid
l (Lj
ub
ljan
a/V
ien
na)
268
Par
alle
l Wo
rld
s o
f Sel
f-E
du
cati
on
, Sel
f-O
rgan
izat
ion
and
Sel
f-E
mp
ow
erm
ent,
an
d th
e Q
ues
tio
n o
f Bio
po
litic
s
269
Par
alle
l Wo
rld
s o
f Sel
f-E
du
cati
on
, Sel
f-O
rgan
izat
ion
and
Sel
f-E
mp
ow
erm
ent,
an
d th
e Q
ues
tio
n o
f Bio
po
litic
s
Marina Garcés asks: ‘What then does the production of critical and shared thinking consist of?’ To answer this it is neces-sary to investigate official structures of knowledge and cultural production, along with how to build counter organizational frameworks. What I would like to say is that self-organization implies not only a process of criticizing universal know-ledge, but also the detection of internal colonial situations. Garcés argues that if we only engage in asking what globaliza-tion has stolen from us, we find ourselves reduced to mere spectators, consumers or victims. By doing so we remove our-selves from any responsibility for local context and history. What is necessary is the political act of re-appropriating history and genealogies, an act that will result in re-capturing the materiality of a history yet to be constructed. History cannot be perceived as something purely virtual and fictionalized. If we take the path of being mere spectators, consumers or victims of the injustices capital has inflicted on us, we find ourselves prisoners and slaves of a system, as Garcés argues, that produces only a long list of wrongs.
Self-organization and self- referentiality are not reborn from empty space. The effects of critique cannot be measured only by what is said but also, according to Garcés, by the grounds on which we base our criticism. This takes us to our next claim, that universities are the out-come of the modern colonial expedition, such as emphasized by Walter Mignolo. What does this mean? That the universal is founded on a fake neutrality in order to hide, as Araba Evelyn Johnston-Arthur and Belinda Kazeem formulate it, its direct connection to the bloody histories of vio-lence of a colonialism impregnated with enslavement, a looting of local histories, experiences and knowledge. Today the universality of knowledge has been cut off from the roots of modernity, and moder-nity can only be understood properly if seen in connection with the imperialistic colonial adventures of capitalism.
What is to be done? Instead of presenting ourselves as victims and outcome of a regulative policy that comes from the outside, it is necessary to think about the colonial from the inside. Walter Mignolo, in his endeavour to establish a new geo-politics of knowledge, talks about a radi-cal proposition that means dismantling
internal colonialism, and validating knowledge and power from the
internal colonial difference. What matters is the construction of a new conceptual genealogy. Establishing such a genealogy means to wake up and rise precisely when we’re knocked down by capitalism and post-socialist, transitional power relations and expropriations. Or even more to the point: ‘The central issue of the geo politics of knowledge is to understand ... what type of knowledge is produced “from the side of colonial difference” and what type of knowledge is produced ‘from the other side of colonial difference”’. Such tasks differ in Latin America, the Caribbean, Asia, Africa, Europe, Germany, Serbia, Slovenia or Austria.
Going back to Araba Evelyn Johnston-Arthur’s writings, I would like to empha-size that she proposes a new conceptual genealogy as a direct political gesture, as an act of intervention within local space. As said, Johnston-Arthur is one of the core members of the Research Group on Black Austrian History and Presence from Vienna, which organized itself to contest/provoke/decolonize deeply rooted colonial processes that have become a normal part of daily life in Austria.
Johnston-Arthur emphasizes that their work consists of exposing the system-atically hidden histories of the African diaspora at local sites in Austria. She writes about how the current Viennese tradition is rooted in the bloody history of colonial violence and enslavement. Today this tradition has been normalized and trivialized. Then she goes on to argue that the re-staging of colonial scenes is an in tegral part of Viennese cultural practices and tradition. We encounter them in coffee-houses, pastry shops, as street names, as racist insults on the walls of houses and in public transport. She describes the situation of drinking coffee from a cup with a Meinl logo in a traditional Viennese coffeehouse. Meinl is an Austrian com pany whose wealth came from trading colonial goods. On a traditional coffee cup with the Meinl logo we see, as Johnston-Arthur points out, an orientalized black child as symbol of the fancy food industry, while in fact the logo restages Austria’s colonial past. Johnston-Arthur writes: ‘Enslaved Africans were mostly deported as children, made objects of the profitable “slave trade” in the eighteenth century. An essential element of this violent his-tory of colonial oppression was and is the radical transformation of Africans into objects, into things.’
This also means, as Mignolo states, to act politically against the academic stand-ard of scientific rigour in which the scien-tific obfuscates every possible criticism, and to insist on a decolonization that will interfere with ‘proper’ local history. It is necessary to analyse power structures in a local setting that allows us to behave completely detached from local history and the present.
In an essay written at the beginning of 2000 – just before the untimely death of Belgrade theorist and feminist Žarana Papic – entitled ‘Europe after 1989: Ethnic Wars, Fascization of Social Life and Body Politics in Serbia’, Žarana Papic argues that the ‘“chosen discourses of appropriation” of social memory, col-lective trauma and the re-creation of the Enemy-Otherness in image and event can become an integral, “self-participatory” agent in the Serbian pro-fascist construc-tion of the social reality’. She goes on to say that the ‘power over the represen-tation of social reality’ in Serbia can be seen as a strong discursive instrument of a political order. Its power lies in the position of the ‘selective legitimization/delegitimization of social memory and social “pre-sence”: through narration/negation of social trauma, transformable presence/absence of violence, the con-stitution/virtuality of the public sphere, and the formation of “collective con-sciousness”. The legitimizing power
of this dominant discourse lies in the construction of the “collective
consensus”’ with ‘narcissistic rhetoric’; as emphasized by Papic, the outside world is the only factor and agency of misery inside Serbia and of de-privi leging circumstances. With such a pro cess, a field of self-victimization is opened and reconstituted, one that becomes active on every level of Serbian society, from the populist masses to intellectual and artis-tic practices. Papic describes this process of self-victimization as ‘peregrination of the trauma’, as a process of denial of any responsibility, for example, for war crimes in the former Yugoslavia.
Žarana Papic also speaks about a ‘re-invention of the chosen trauma’ at the level of ‘the public’, one reinforced through the state media and as such a carefully planned revision of the historical balance sheet. To quote her: ‘The media consistently forged... the Serb “indiffer-ence” towards the Other(s). The trauma became so internalized that Croatian and Bosnian victims could never reach the sacred status of the allegedly... ‘greatest’ Serbian, victims from 1941-42. One could perhaps even describe this as a “fiction-alization of the chosen trauma”.’
In relation to Žarana Papic’s almost forgot-ten analysis – one that has even greater topicality today – it is important to under-stand that there is no outside to impe-rial or colonial difference. It is easier to adhere to the hegemonic genealogies of modern and post-modern Western thought (Mignolo) as well as much more
Caf
e D
eko
lon
ial –
Sag
der
Meh
lsp
eis
leis
e S
ervu
s, b
y th
e R
esea
rch
Gro
up
on
Bla
ck A
ust
rian
H
isto
ry a
nd
Pre
sen
ce f
rom
Vie
nn
a, A
rab
a E
vely
n Jo
hn
sto
n-A
rth
ur,
Bel
ind
a K
azee
m a
nd
Njid
eka
Ste
ph
anie
Iro
h, a
s p
art o
f th
e ex
hib
itio
n p
roje
ct T
op
osc
apes
: In
terv
enti
on
s in
to S
oci
o-c
ult
ura
l an
d P
olit
ical
Sp
aces
, 200
7, c
ura
tors
Mar
ina
Grž
inic
& W
alte
r S
eid
l (Lj
ub
ljan
a/V
ien
na)
270
Par
alle
l Wo
rld
s o
f Sel
f-E
du
cati
on
, Sel
f-O
rgan
izat
ion
and
Sel
f-E
mp
ow
erm
ent,
an
d th
e Q
ues
tio
n o
f Bio
po
litic
s
271
Par
alle
l Wo
rld
s In
terv
iew
campement urbain
Pm
/Hm
: Aft
er y
ears
of n
ego
tiatio
ns
you
’re
no
w in
the
pro
cess
of r
ealiz
ing
a co
mm
unal
‘pla
ce o
f so
litu
de’
in S
evra
n
on
the
ou
tski
rts
of P
aris
. Ho
w d
oes
this
p
rotr
acte
d p
roce
ss r
elat
e to
cur
ren
t ur
gen
cies
of u
rban
per
iph
erie
s?
fran
çois
dau
ne:
It s
tart
ed w
ith
a co
mp
etit
ion
, org
aniz
ed b
y th
e Ev
ens
Foun
dat
ion
, an
ori
gin
ally
pri
vate
B
elg
ian
foun
dat
ion
. Th
e su
bje
ct w
as
‘Art
, Co
mm
unit
y an
d C
olla
bo
ratio
n’.
We
wer
e as
ked
to s
ub
mit
a p
rop
osa
l, b
ut w
e re
plie
d w
ith
a d
isp
osi
tif, a
kin
d
of s
et-u
p o
r d
evic
e th
at s
ug
ges
ts n
ew
way
s o
f co
llab
ora
ting
bet
wee
n ar
t an
d ci
tizen
s. W
e w
ante
d to
init
iate
so
met
hin
g, t
he
beg
inn
ing
of a
sto
ry,
an u
rban
fict
ion
.I’m
an
arch
itec
t an
d at
that
tim
e I w
as
alre
ady
wor
kin
g in
an
area
of t
he
city
o
f Sev
ran
. I th
oug
ht i
t wo
uld
be
an
inte
rest
ing
pla
ce to
imp
lem
ent o
ur
pro
ject
, Je&
No
us.
Th
e to
wn
is lo
cate
d
clo
se to
Cha
rles
de
Gau
lle In
tern
atio
nal
A
irp
ort,
fro
m w
her
e m
illio
ns
of p
as-
sen
ger
s tr
avel
to th
e ce
ntr
e o
f Par
is
ever
yday
on
the
RER
trai
n. A
nd
then
yo
u ha
ve th
ou
san
ds
of i
nhab
itan
ts in
S
evra
n’s
mul
ticul
tura
l dis
tric
t, ca
lled
Le
s B
eau
do
ttes
, wh
o’ve
co
me
fro
m fo
r-ei
gn c
oun
trie
s al
l ove
r th
e w
orld
. Th
ese
two
gro
ups
nev
er m
eet u
nles
s so
me
gu
ys s
top
the
trai
n an
d ro
b th
ing
s fr
om
p
asse
ng
ers.
Les
Bea
ud
ott
es s
tatio
n is
ren
own
ed fo
r su
ch a
ttac
ks. I
n co
ntr
ast
to th
e tr
avel
lers
wh
o ar
e co
nst
antl
y on
th
e m
ove,
the
peo
ple
of L
es B
eau
do
ttes
ar
e st
ran
ded
ther
e, tr
app
ed a
nd
– fr
om
th
e m
om
ent o
f th
eir
arri
val –
dep
rive
d
of w
ork
and
soci
al s
tatu
s. M
oreo
ver,
they
’ve
lost
thei
r m
obili
ty. T
he
two
gr
oup
s liv
e se
par
atel
y in
tw
o d
istin
ct
wor
lds
that
form
new
terr
itor
ies
of
mo
der
nity
.T
he
qu
estio
n fo
r u
s w
as h
ow
to w
ork
w
ith
a co
mm
unit
y an
d u
se a
rt a
s a
mea
ns
to p
rom
ote
co
llab
or a
tion
b
etw
een
anta
go
nis
tic
com
mun
itie
s.
Livi
ng
in S
evra
n-B
eau
do
ttes
is e
con
-o
mic
ally
dif
ficu
lt, b
ut a
lso
and
in
par
ticu
lar
bec
ause
the
Fren
ch a
ren
’t
wel
com
ing
tow
ard
s im
mig
ran
ts, w
ho
ar
e d
epri
ved
of b
asic
rig
hts
su
ch a
s
the
rig
ht t
o vo
te a
nd
citiz
ensh
ip.
Man
y o
f th
em r
etre
at in
to n
ew fo
rms
of c
om
mun
itar
ism
an
d/o
r p
atri
arch
al
syst
ems
bas
ed o
n m
ale
auth
ori
ty. I
n
this
sen
se it
was
ver
y in
tere
stin
g fo
r u
s to
try
to in
itia
te a
pro
ject
bas
ed o
n
an e
xch
ang
e b
etw
een
‘alie
n’ p
op
ula-
tion
s –
a p
roje
ct th
at w
oul
d ad
dre
ss
the
qu
estio
n o
f co
mm
unit
y w
ith
ou
t ar
chai
c au
tho
rity
an
d ‘m
ake
soci
ety’
(f
aire
so
ciét
é).
O
ur w
ay o
f dea
ling
wit
h th
is e
no
rmo
us
chal
len
ge
invo
lved
a q
uit
e m
od
est
sug
ges
tion
: we
aske
d in
hab
itan
ts n
ot
just
to p
arti
cip
ate
bu
t als
o to
‘sh
are
resp
on
sib
ilitie
s’. W
e p
rop
ose
d cr
eatin
g
fun and ‘sexy’ to adhere to the idea of being a victim, of being a product of the ‘fictionalization of the chosen trauma’. It is easier to act for the big Other (Jelica Šumic-Riha) than to take the path of a radical political act that neither guaran-tees the same names nor immediate suc-cess. And precisely such a radical polit-ical act has been realized by the Research Group on Black Austrian History and Presence from Vienna.
References
- Austrian State Treaty, Article 7, Paragraph 3.
See: http://www.mzz.gov.si/en/slovenian_minorities/
- Marina Garcés, ‘The Experience of the US’, Zehar,
no. 60-61 (San Sebastian, 2007).
- http://magazines.documenta.de/attachment/
000000343.pdf
- Marina Gržinic, ‘Feminism is Politics’, Shedhalle,
no. 2 (Zurich, 2007).
- Marina Gržinic, ‘The Impurity of Education,
Knowledge and Self-Organization’, TKH: Journal
for Performing Arts Theory, no. 15 (Belgrade, 2008).
- David Harvey, A Brief History of Neoliberalism
(Oxford: Oxford University Press, 2005).
- Michael Hudson, Super Imperialism: The Origins
and Fundamentals of U.S. World Dominance
(London: Oxford University Press, 2003).
- Araba Evelyn Johnston-Arthur (text) and Belinda
Kazeem (visuals), Reartikulacija/Re-articulation, no.1
(Ljubljana, 2007). http://www.reartikulacija.org/
pozicioniranje.html
- Jacques Lacan, Le Séminaire livre XVI (1968-1969),
D’un Autre à l’autre (Paris: Seuil, 2006).
- Catherine Walsh, ‘The geopolitics of knowledge
and the coloniality of power: An interview with
Mignolo’, Zehar, no. 60-61 (San Sebastian, 2007).
http://magazines.documenta.de/attachment/
000000345.pdf
- Žarana Papic, ‘Europe after 1989: Ethnic Wars, the
Fascization of Social Life and Body Politics in Serbia’,
Filozofski vestnik/Acta Philosophica, no. 2, special
issue The Body, ed. Marina Gržinic Mauhler, Institute
of Philosophy ZRC SAZU (Ljubljana 2002): 191-205.
http://www.komunikacija.org.yu/komunikacija/
casopisi/sociologija/XLIII_3/d01/html_gb
- Jelica Šumic-Riha, ‘Jetniki Drugega, ki ne obstaja’
(‘Prisoners of the Inexistent Other’), Filozofski vest-
nik /Acta Philosophica, no. 1, Institute of Philosophy
ZRC SAZU (Ljubljana 2007): 81-103.
- Chris Wright and Samantha Alvarez, ‘Expropriate,
Accumulate, Financialize’, Eurozine, Mute 5, 2007:
http://www.eurozine.com/journals/mute.html
(accessed on Sept. 1, 2007).
No
t a p
rom
ised
lan
d b
ut a
del
igh
tfu
l wan
der
ing
272
Par
alle
l Wo
rld
s In
terv
iew
273
Par
alle
l Wo
rld
s In
terv
iew
an o
bje
ct w
her
e an
ind
ivid
ual
co
uld
b
e al
on
e b
ut t
hat
wo
uld
be
ever
yon
e’s
resp
on
sib
ility
at t
he
sam
e ti
me.
All
the
com
mu
nit
ies
wo
uld
tak
e ca
re
of t
he
ob
ject
wh
ile a
llow
ing
peo
ple
to
get
aw
ay f
rom
thei
r re
spec
tive
co
mm
un
itie
s.
In o
ther
wo
rds,
peo
ple
en
teri
ng
the
ob
ject
exi
t th
eir
com
mun
itie
s. T
his
mea
ns
thei
r co
mm
unit
ies
hav
e to
ac
cep
t th
at th
ey’r
e ta
kin
g (a
n in
div
id-
ual
) tim
e o
ut w
hen
they
go
away
an
d
stay
ther
e. It
’s a
pla
ce th
at m
igh
t be
able
to tr
igg
er n
ew p
ract
ices
. Th
ou
gh,
si
nce
the
pro
ject
is th
e re
spo
nsi
bili
ty
of t
he
com
mun
ity,
it e
xist
s o
nly
as
lon
g
as p
eop
le a
gre
e to
kee
p th
e p
hysi
cal
ob
ject
inta
ct. T
hey
hav
e to
dis
cuss
h
ow
to d
o th
is, h
ow
to u
se it
, mai
nta
in
it an
d so
on
. If d
iscu
ssio
n st
op
s, th
e o
bje
ct w
ill d
isap
pea
r. S
o d
iscu
ssin
g
the
mea
nin
g o
f su
ch a
sp
ace
actu
ally
co
nst
itu
tes
its
beg
inn
ing
. Of c
our
se,
ther
e’s
also
the
qu
estio
n o
f ho
w to
co
nvin
ce p
eop
le in
the
area
to c
olla
b-
ora
te. S
o in
sim
ple
term
s, th
is w
as th
e p
roje
ct w
e su
bm
itte
d to
the
foun
dat
ion
–
and
we
wo
n th
e co
mp
etit
ion
.
syl
vie
Blo
cher
: Sev
ran
is a
sym
bo
lic
pla
ce. A
new
cit
y, c
reat
ed in
the
1970
s fo
r im
mig
ran
ts. I
ts fi
rst r
esid
ents
cam
e fr
om
No
rth
Afr
ica,
fro
m th
e M
aghr
eb.
Su
bse
qu
entl
y, A
sian
an
d th
en In
dia
n
com
mun
itie
s ar
rive
d. M
ost
of t
hem
wer
e M
usl
ims.
It w
as a
ver
y d
ense
ar
ea a
nd
ther
e w
ere
fig
hts
bet
wee
n
the
dif
fere
nt c
om
mun
itie
s. B
efo
re w
e su
bm
itte
d o
ur p
rop
osa
l fo
r th
e co
mp
e-ti
tion
, we
wen
t to
see
the
may
or
to t
alk
abo
ut t
he
pro
ject
. An
d th
is c
hap
, th
e yo
ung
est (
29!)
may
or
ever
ele
cted
in
Fran
ce, s
aid
: ‘N
oth
ing
’s w
ork
ing
her
e,
so e
very
new
idea
is O
K w
ith
me.
Th
e ci
ty d
oes
n’t
hav
e an
y m
on
ey to
off
er,
bu
t I’ll
su
pp
ort
yo
u.’
Wel
l, w
e’d
wo
n th
e co
mp
etit
ion
, bu
t at
firs
t thi
s w
as m
ore
of a
nig
htm
are
bec
ause
alt
ho
ug
h it
had
bee
n a
nic
e,
very
uto
pia
n p
roje
ct to
imag
ine,
it
was
n’t
go
ing
to b
e ea
sy to
pu
t in
to
pra
ctic
e. O
ur id
ea w
as to
co
nce
ive
a p
lace
that
wo
uld
n’t
be
affil
iate
d w
ith
an
y re
ligio
n o
r id
eolo
gy.
Sim
ply
a
pla
ce fo
r –
des
ired
rat
her
than
imp
ose
d
– so
litu
de,
wh
ere
peo
ple
wo
uld
be
able
to
esc
ape
for
a lit
tle
whi
le fr
om
thei
r o
wn
com
mun
itie
s. A
nd
esp
ecia
lly fo
r M
usl
im w
om
en w
ho
hav
e n
o o
ther
p
lace
to g
o b
ut t
hei
r h
om
es.
Pm
/Hm
: Is
ther
e a
con
nec
tion
b
etw
een
ho
w th
e p
roje
ct w
ork
s as
a
pro
cess
an
d h
ow
yo
u w
ork
wit
hin
th
e C
amp
emen
t Urb
ain
colle
ctiv
e?
syl
vie
Blo
cher
: Wel
l, fo
r u
s th
e p
roce
ss
of d
iscu
ssin
g th
e p
roje
ct w
ith
peo
ple
w
as d
efin
itel
y m
ore
imp
ort
ant t
han
the
actu
al p
rod
uct
ion
of a
n o
bje
ct. I
t was
mu
ch m
ore
ab
ou
t th
e p
roce
ss a
nd
ho
w
we
coul
d w
ork
on
it, b
ecau
se fo
r u
s th
e p
roce
ss o
f ho
w th
ese
peo
ple
co
nce
ive
them
selv
es a
nd
bec
om
e vi
sib
le a
s su
bje
cts
wit
hin
the
deb
ate
is e
ssen
tial.
It’s
wh
at w
e ca
ll ‘a
pro
cess
of i
nfil
tra-
tion
’, w
hich
mea
ns
infil
trat
ing
real
ity
wit
h ar
t in
ord
er to
up
set i
ts r
ules
an
d
conv
entio
ns
and
so m
ake
roo
m fo
r th
e su
bje
ct. F
or
inst
ance
, we
pre
fer
talk
ing
th
ing
s o
ut a
nd
we
do
n’t
vote
. A s
ug
-g
estio
n h
as to
be
per
suas
ive
eno
ug
h
to c
onv
ince
the
gro
up
. It’
s a
lon
g
pro
ced
ure
– w
hat
we
call
in F
ren
ch
du
tem
ps
dila
pid
é –
and
the
bas
is
of d
emo
crac
y. It
’s a
lso
a p
roce
ss th
at
has
no
inte
ntio
n to
exc
lud
e. A
nd
it’s
th
e sa
me
on
e st
ill u
sed
tod
ay b
y th
e C
amp
emen
t Urb
ain
gro
up
. It t
oo
k u
s ei
gh
t mo
nth
s to
get
acc
ess
to th
e ar
ea.
No
rmal
ly, p
eop
le fr
om
ou
tsid
e d
on
’t
go
ther
e. S
o w
e as
ked
a so
cio
log
ist
to jo
in th
e g
rou
p. S
he
star
ted
to g
o
reg
ular
ly in
to th
e ar
ea, t
o se
e w
hat
p
eop
le w
ere
do
ing
, wh
at k
ind
of a
sso
-ci
atio
ns
exis
ted
and
to u
nd
erst
and
all
the
unsp
oke
n la
ws.
Sh
e sa
t fo
r h
our
s o
n a
ben
ch a
nd
in th
e b
egin
nin
g sh
e w
as h
assl
ed, b
ut a
fter
a w
hile
sh
e
bec
ame
par
t of t
he
lan
dsc
ape
and
st
arte
d to
co
nver
se w
ith
peo
ple
. A
fter
eig
ht m
on
ths
we
org
aniz
ed o
ur
first
mee
ting
, bu
t it w
as a
dis
aste
r b
ecau
se th
e d
ay w
e h
ad c
ho
sen
turn
ed
ou
t to
be
the
beg
inn
ing
of R
amad
an –
we’
d th
ou
gh
t it w
as th
e n
ext d
ay. S
o
wh
en w
e h
eld
the
seco
nd
mee
ting
, we
real
ly th
ou
gh
t no
bo
dy
wo
uld
com
e,
bu
t it w
as f
ull.
Ever
yon
e w
as th
ere
and
so w
e b
egan
to
exp
lain
wh
at w
e en
visi
on
ed, i
.e. t
o
crea
te a
pla
ce o
f so
litu
de
tog
eth
er!
We
wer
e ac
tual
ly q
uit
e w
orr
ied
as p
eop
le
fro
m a
ll th
e d
iffe
ren
t co
mm
unit
ies
wer
e th
ere.
Bu
t th
en a
wo
man
loo
ked
at
us
and
said
, ‘W
hat
yo
u’r
e p
rop
os-
ing
wo
uld
be
the
“gre
ates
t lu
xury
”,
bec
ause
our
ap
artm
ents
are
so
over
-cr
ow
ded
, an
d th
e ci
ty s
o d
ense
her
e.’
Ever
yon
e w
as v
ery
firm
an
d d
irec
t an
d
said
, ‘O
K, w
e un
der
stan
d, w
e lik
e w
hat
yo
u’r
e su
gg
estin
g, b
ut w
ho
will
mak
e al
l th
e d
ecis
ion
s?’ T
hen
a w
om
an s
aid
, ‘If
we
go
ther
e an
d it
’s n
ot a
mo
squ
e,
a ch
urch
or
a te
mp
le, i
t’ll
hav
e to
be
trem
end
ou
sly
bea
uti
ful.’
On
e m
an
aske
d, ‘
Wh
o w
ill h
ave
the
key
to th
e p
lace
?’ T
hes
e tw
o q
ues
tion
s sh
ow
ed
us
that
peo
ple
un
der
sto
od
the
chal
-le
ng
e o
f th
e p
roje
ct p
erfe
ctly
an
d th
e p
ow
er is
sues
it w
oul
d in
volv
e.
We
exp
lain
ed th
at w
e w
ante
d to
cre
ate
a n
ew p
ub
lic s
pac
e w
ith
them
. Ove
r
a p
erio
d o
f thr
ee y
ears
we’
ve b
een
th
ere
alm
ost
eve
ry w
eek;
tog
eth
er
we’
ve w
ork
ed o
ut w
hat
the
ob
ject
sh
oul
d lo
ok
like
and
wh
ere
it sh
oul
d
be
loca
ted
in L
es B
eau
do
ttes
. We’
ve
also
trie
d to
wo
rk o
n o
ur in
tern
atio
nal
im
age;
for
exam
ple
, in
2003
cur
ato
r
Ho
u H
anru
invi
ted
us
to th
e V
enic
e B
ien
nia
l to
par
tici
pat
e in
Zo
ne
of
Urg
ency
. Wit
h m
on
ey d
on
ated
by
visi
tors
to th
e B
ien
nia
l, w
e w
ere
able
to
go
ther
e w
ith
som
e in
hab
itan
ts o
f Le
s B
eau
do
ttes
. We’
ve p
rese
nte
d th
e p
roje
ct a
t man
y in
tern
atio
nal
eve
nts
. A
nd
as
an a
rtis
t, I’
ve p
rod
uce
d a
vi
deo
wit
h 1
00 r
esid
ents
. We’
ve
also
film
ed th
e m
eetin
gs
in S
evra
n.
To u
s, it
see
med
nec
essa
ry to
rec
eive
re
cog
nit
ion
inte
rnat
ion
ally
so
as to
fo
rce
mun
icip
al, r
egio
nal
an
d st
ate
o
ffice
s to
co
nsi
der
‘sh
arin
g th
e re
-
spo
nsi
bili
ty’.
Mea
nw
hile
, Cam
pem
ent
Urb
ain
has
giv
en th
e o
bje
ct a
defi
nit
e d
esig
n b
ased
on
the
dem
and
s o
f th
e in
hab
itan
ts. I
t will
be
a lit
tle
pu
blic
g
ard
en w
ith
a sm
all s
tru
ctur
e fl
oat
ing
w
ithi
n it
and
per
hap
s a
keep
er to
m
ain
tain
so
litu
de.
Mea
nw
hile
the
city
h
as p
rovi
ded
lan
d. W
e’ve
ob
tain
ed
per
mis
sio
n to
bu
ild. T
ho
ug
h w
e st
ill
lack
mo
ney
an
d it
isn
’t d
on
e ye
t. W
hen
w
e b
egan
, we’
d n
o id
ea it
wo
uld
take
so
lon
g...
It h
as b
een
a p
roje
ct f
ull
of h
app
ines
s an
d p
ain
.
Je&
No
us
Cam
pem
ent U
rbai
n: S
ylvi
e B
loch
er, F
ran
çois
Dau
ne,
Jo
sett
e Fa
idit
P
roje
ct f
or
a p
lace
of s
olit
ud
e in
Sev
ran
, Fra
nce
, 200
3-o
ng
oin
g
New
Urb
an S
pac
es /
Cu
ltu
res
and
Per
iph
erie
s / I
nfi
ltra
tio
nC
amp
emen
t Urb
ain
: Syl
vie
Blo
cher
, Fra
nço
is D
aun
e, J
ose
tte
Faid
it
Det
ail o
f in
stal
lati
on
, Gra
nd
Pal
ais,
Par
is, 2
006
274
Par
alle
l Wo
rld
s In
terv
iew
275
Par
alle
l Wo
rld
s In
terv
iew
Vas
ıf k
ort
un
: Yo
u kn
ow
, Ist
anb
ul h
as
just
en
tere
d th
is u
nfo
rtu
nat
e g
lob
al
city
rac
e an
d it
’s m
akin
g la
rge
seg
-m
ents
an
d va
rio
us
lifes
tyle
s o
f th
e ci
ty
invi
sib
le. T
his
is b
ecau
se it
’s a
ll ab
ou
t cl
ean
sin
g an
d re
gu
latin
g, a
nd
sin
ce
that
’s w
hat
it’s
ab
ou
t, th
e id
ea is
to
elim
inat
e th
e (s
elf-
) rep
rese
nta
tio
n o
f la
rge
par
ts o
f th
e ci
ty. T
he
city
is b
e-co
min
g a
lab
el a
nd
it’s
bei
ng
mar
kete
d
as s
uch
. It’
s a
rad
ical
top
-do
wn
tran
s-fo
rmat
ion
. Th
is p
roce
ss n
egle
cts
the
mo
st im
po
rtan
t an
d m
ost
inte
rest
ing
as
pec
t of t
he
city
: its
ad
-ho
c o
rgan
ic
dev
elo
pm
ent a
nd
ind
ivid
uat
ion
in s
o
man
y d
iffe
ren
t zo
nes
. In
term
s o
f ho
w
we
thin
k o
f ou
r ci
ties
, we
hav
en’t
fully
re
aliz
ed th
e p
ote
nti
al o
f ‘p
osi
tio
nin
g’
as o
pp
ose
d to
map
pin
g. O
r to
pu
t it
dif
fere
ntl
y, it
’s n
ot a
bo
ut d
ecip
her
ing
th
e ci
ty, b
ecau
se Is
tan
bu
l is
actu
ally
a
pla
ce w
her
e yo
u ca
n lo
se y
ou
r b
ear-
ing
s, a
s th
e ac
tual
, ph
ysic
al c
ity
itse
lf
is a
bo
ut d
iso
rien
tati
on
. Ho
wev
er, a
t th
e m
om
ent,
a h
ug
e ‘v
acu
um
cle
aner
’ is
mo
vin
g th
rou
gh
the
city
.
Pm
/Hm
: Wh
at k
ind
of c
oun
ter-
geo
g-
rap
hy m
igh
t be
mo
bili
zed
thro
ug
h
acti
ve e
ng
agem
ent w
ith
such
dis
-o
rien
tatio
n in
the
urb
an fi
eld
? A
nd
co
uld
this
hav
e an
eff
ect o
n th
e g
lob
al
dis
trib
utio
n o
f net
wo
rk p
ract
ices
?
Vas
ıf k
ort
un
: I d
on
’t kn
ow
ho
w to
an
swer
that
qu
esti
on
. I o
per
ate
fro
m
a p
arti
cula
r zo
ne
in th
e ci
ty, o
ne
that
is
sup
po
sed
to b
e th
e m
ost
pu
blic
zo
ne
in th
e ci
ty, a
nd
yet t
his
zo
ne
is a
ctu
ally
in
man
y w
ays
no
t acc
essi
ble
to m
ost
o
f Ist
anb
ul’s
res
iden
ts. M
ore
ove
r, if
yo
u ar
e o
ld o
r h
ave
a p
ho
bia
ab
ou
t cr
ow
ds
or
con
fin
ed s
pac
es, y
ou
can
’t
com
e h
ere.
Th
e ci
ty s
pan
s to
o m
any
mile
s fo
r o
ne
cen
tre
to a
nsw
er c
ult
ura
l n
eed
s. M
any
new
co
mm
un
itie
s an
d re
-ce
nt i
mm
igra
nts
to th
e ci
ty h
ave
nev
er
even
see
n B
eyo
glu
or
Gal
ata,
let a
lon
e th
e B
osp
oru
s. C
om
ing
bac
k to
yo
ur
qu
esti
on
, in
rece
nt y
ears
, im
mig
ra-
tio
n p
atte
rns
hav
e ch
ang
ed f
rom
ho
w
they
pre
vio
usl
y w
ere,
for
exam
ple
,
peo
ple
on
ce m
igra
ted
to e
scap
e w
ar
in e
aste
rn T
urk
ey. B
ut t
od
ay it
’s n
o
lon
ger
po
ssib
le fo
r su
ch p
eop
le to
be
the
arch
itec
ts o
f th
eir
ow
n fo
rtu
nes
, b
ecau
se th
e g
ove
rnm
ent d
oes
n’t
to
lera
te il
leg
alit
y an
ymo
re –
an
d in
th
e p
ast t
his
was
a d
ecis
ive
fact
or
in
this
sel
f-m
ade
city
. Cer
tain
dis
tric
ts
are
bei
ng
des
tro
yed
bec
ause
they
’re
Ro
ma
nei
gh
bo
urh
oo
ds
or
they
’ve
a h
igh
den
sity
of ‘
un
des
irab
les’
. NG
Os
are
reac
ting
to th
ese
pro
cess
es, b
ut
in th
e en
d al
l th
at c
an b
e sa
lvag
ed
are
mem
ori
es a
nd
sto
ries
. Ist
anb
ul
isn
’t a
city
, bu
t act
ual
ly m
any
citi
es
loo
sely
co
nn
ecte
d to
on
e an
oth
er. I
t’s
an a
gg
lom
erat
ion
of v
illag
es a
nd
com
-m
un
itie
s, s
tru
ng
tog
eth
er. I
’m p
erh
aps
no
t th
e ri
gh
t per
son
to a
dd
ress
on
n
etw
ork
ed p
ract
ices
. We
mig
ht b
e ab
le
to h
ou
se p
eop
le a
nd
mak
e th
em m
ore
vi
sib
le o
r el
evat
e th
em to
an
oth
er le
vel
of d
iscu
ssio
n, b
ut w
e’re
by
no
mea
ns
on
firm
gro
un
d h
ere.
Pm
/Hm
: Ist
anb
ul h
as b
eco
me
a ve
ry
po
pul
ar s
ite
in th
e re
cen
t dis
cour
se o
n
con
test
ed u
rban
sp
aces
, par
ticu
larl
y in
the
art w
orl
d. W
hen
yo
u cu
rate
d
the
9th
Inte
rnat
ion
al Is
tan
bul
Bie
nn
ial
tog
eth
er w
ith
Ch
arle
s E
sch
e in
200
5,
you
dec
ided
to u
se th
is o
pp
ort
unit
y to
pro
du
ce a
bie
nn
ial f
or
and
abo
ut
Ista
nb
ul. W
hat
was
the
idea
beh
ind
th
is d
ecis
ion?
Vas
ıf k
ort
un
: Th
e in
tern
atio
nal
co
mm
unit
y w
as w
elco
me,
bu
t th
e ex
hib
itio
n w
as fi
rst a
nd
fore
mo
st fo
r th
e re
sid
ents
of I
stan
bul
. At t
he
time
we
wer
e o
per
atin
g in
the
dis
tric
ts o
f G
alat
a, B
eyo
glu
and
Top
han
e. T
hes
e p
arts
of t
he
city
are
un
der
go
ing
‘urb
an
reg
ener
atio
n’ a
nd
hav
e b
eco
me
a m
ain
du
mp
ing
site
for
even
t cul
ture
an
d en
tert
ain
men
t. A
nd
then
ther
e is
an
oth
er d
istr
ict,
rig
ht n
ear
us,
beh
ind
th
e P
latf
orm
Gar
anti
Co
nte
mp
ora
ry A
rt
Cen
tre,
sep
arat
ed ju
st b
y an
ave
nu
e
wit
h a
bar
rier
in b
etw
een
. Th
e b
arri
er
effe
ctiv
ely
elim
inat
es th
e p
oss
ibili
ty o
f p
edes
tria
n fl
ux
for
hun
dre
ds
of m
etre
s in
the
epic
entr
e o
f th
e ci
ty. T
his
is th
e Ta
rlab
ası d
istr
ict,
wh
ere
peo
ple
live
in
dif
fere
nt c
on
dit
ion
s w
ith
a d
iffe
ren
t ec
on
om
y an
d d
iffe
ren
t eth
nic
co
mp
o-
sitio
n. I
t’s
liter
ally
on
‘th
e o
ther
sid
e o
f th
e tr
acks
’, as
Am
eric
ans
wo
uld
say.
T
her
e’s
a lo
t of r
esea
rch
bei
ng
do
ne
on
Tarl
abas
ı, b
ecau
se it
’s c
onv
enie
nt:
yo
u ca
n al
way
s ju
st d
rop
by
and
then
re
turn
to th
e sm
ug
com
fort
of B
eyo
glu
. S
ince
the
last
mas
ter
pla
n fo
r Is
tan
bul
w
as d
raft
ed, t
he
city
has
un
der
go
ne
rad
ical
res
tru
ctur
ing
, an
d p
art o
f thi
s re
stru
ctur
ing
has
giv
en u
s a
new
an
d
div
ided
cit
y. T
he
Bie
nn
ial t
oo
k n
ote
o
f thi
s o
n th
e ur
ban
leve
l (S
olm
az
Sh
ahb
azi)
and
wit
h re
gar
d to
ho
w
it h
as a
ffec
ted
peo
ple
(M
ario
Riz
zi).
T
he
Bie
nn
ial w
as, i
n fa
ct, m
ore
ab
ou
t si
tuat
ion
s b
etw
een
ind
ivid
ual
s an
d
the
arti
st th
an a
bo
ut l
arg
er c
on
dit
ion
s.
Thi
s w
as a
lso
why
we
wan
ted
to m
ake
the
exhi
bit
ion
‘dis
app
ear’
into
the
city
an
d ch
ose
sm
all b
uild
ing
s, a
s w
ell a
s as
ked
peo
ple
to n
avig
ate
and
wal
k th
rou
gh
pla
ces
that
they
wo
uld
no
t no
rmal
ly g
o to
. Obv
ious
ly, t
here
wer
e a
few
issu
es h
ere.
We
wan
ted
to a
dd
ress
th
e fa
tigu
e fe
lt w
ith
reg
ard
to b
ien
ni-
als
and
thei
r ex
hib
itio
ns
in th
e 19
90s:
it
iner
ant c
urat
ors
an
d it
iner
ant a
rtis
ts –
an
d n
ew-e
con
om
y kn
ow
led
ge
wo
rker
s w
ho
wen
t fro
m o
ne
pla
ce to
an
oth
er,
and
the
knee
-jer
k re
actio
ns
to th
e ci
ties
they
kn
ew li
ttle
ab
ou
t. W
e w
ante
d
to g
et a
way
fro
m s
uch
res
po
nse
s,
esp
ecia
lly b
ecau
se Is
tan
bul
co
uld
be
read
thro
ug
h a
kin
d o
f exo
tic
fram
e.
Peo
ple
ten
d to
see
it a
s ly
ing
som
e-w
her
e b
etw
een
the
Ori
ent a
nd
the
Occ
iden
t. H
ere
we
do
n’t
und
erst
and
th
ese
clic
hés
ab
ou
t ‘E
ast a
nd
Wes
t’ o
r ab
ou
t bei
ng
‘bet
wee
n p
lace
s’...
So
to
pre
ven
t su
ch n
on
-refl
ecti
ve r
eact
ion
s to
the
city
, we
tho
ug
ht i
t wo
uld
be
mu
ch m
ore
imp
ort
ant f
or
peo
ple
to
com
e h
ere
and
stay
for
a w
hile
, mee
t o
ther
peo
ple
, rea
d ab
ou
t th
e ci
ty a
nd
d
iscu
ss w
ith
us,
an
d th
en p
rod
uce
new
w
ork
s. O
ver
20 w
ork
s w
ere
com
mis
-si
on
ed –
wo
rks
for
whi
ch w
e th
ou
gh
t it
wo
uld
be
abso
lute
ly e
ssen
tial t
o sl
ow
d
ow
n th
e p
ace.
Thi
s fa
tigu
e w
ith
bie
n-
nia
ls a
lso
had
to d
o w
ith
the
nu
mb
er
of a
rtis
ts in
exh
ibit
ion
s. T
his
kin
d o
f re
inve
ntio
n o
f th
e n
inet
een
th-c
entu
ry
wo
rld
fair
in th
e fo
rm o
f a b
ien
nia
l is
pro
ble
mat
ic. I
t sh
oul
dn
’t re
qu
ire
a 20
-mile
trek
to s
ee a
n ex
hib
itio
n, b
e-ca
use
then
no
bo
dy
will
act
ual
ly b
e ab
le
to s
ee it
all.
Eve
ryo
ne
just
ex p
erie
nce
s th
e ev
ent.
We
dec
ided
to r
edu
ce th
e n
um
ber
of a
rtis
ts a
nd
giv
e th
em a
b
it m
ore
pre
sen
ce a
s w
ell a
s al
low
co
mp
lex
read
ing
s b
etw
een
the
wo
rks
them
selv
es.
Pm
/Hm
: To
pic
k u
p o
n th
at, w
hat
cul
-tu
ral a
nd
urb
an u
rgen
cies
of p
rese
nt-
day
Ista
nb
ul d
id th
ese
wo
rks
add
ress
?
Vasıf kortun
Den
iz P
alac
e A
par
tmen
ts, I
stan
bu
l, 20
05
Peg
gy
Ru
gP
aulin
a O
low
ska
Den
iz P
alac
e A
par
tmen
ts, 9
th Is
tan
bu
l Bie
nn
ial,
2005
Vie
w f
rom
Den
iz P
alac
e A
par
tmen
ts a
cro
ss t
he
new
art
eria
l ro
ad in
Bey
ogl
u (R
eyfi
k S
ayd
am C
add
esi –
Tar
lab
ası B
ulv
arı)
to
war
ds
the
Go
lden
Ho
rn, I
stan
bu
l, 20
05
Nea
r T
ün
el S
qu
are
at t
he
sou
thea
ster
n en
d o
f Ist
ikla
l C
add
esi i
n B
eyo
glu
, Ist
anb
ul,
2005
Sce
nes
fro
m a
rou
nd
Ista
nb
ul M
od
ern
, a p
riva
te m
use
um
dev
ote
d to
mo
der
n an
d co
nte
mp
ora
ry
art,
loca
ted
in t
he
form
er c
ust
om
s w
areh
ou
se A
ntr
epo
no
. 4 o
n th
e B
osp
ho
rus,
200
5Ta
ksim
Sq
uar
e, Is
tan
bu
l, 20
05
276
Par
alle
l Wo
rld
s In
terv
iew
277
Par
alle
l Wo
rld
s In
terv
iew
Jochen Becker
Pm
/Hm
: Yo
u ar
e o
ne
of t
he
con
trib
u-
tors
of t
he
pro
ject
Ers
atzS
tad
t, w
hich
p
ursu
ed v
ario
us
lines
of c
riti
cal
eng
agem
ent w
ith
con
tem
po
rary
urb
an
real
itie
s. S
om
e w
ere
mo
re th
eore
tica
l in
vest
igat
ion
s, s
uch
as
the
bo
ok
seri
es
met
roZo
nes
; oth
ers
had
to d
o w
ith
di-
rect
inte
rven
tion
s in
to th
e ur
ban
fab
ric.
H
ow
do
es th
is p
arti
cula
r ap
pro
ach
of
com
bin
ing
po
litic
al e
ng
agem
ent w
ith
en
qu
irie
s in
to a
rtis
tic
and
arch
itec
tura
l p
ract
ices
res
on
ate
wit
h th
e p
olit
ical
an
d cu
ltur
al c
limat
e in
Ber
lin?
Joch
en B
ecke
r: A
ctu
ally
, it w
as a
cri
-ti
qu
e o
f Ber
lin’s
rec
ent d
isco
urse
s an
d
a (t
emp
ora
ry) f
arew
ell t
o B
erlin
, to
o.
We
wer
e g
ettin
g re
ally
bo
red
wit
h th
e o
ng
oin
g d
escr
iptio
n o
f th
e so
-cal
led
Eu
rop
äisc
he
Sta
dt (
Euro
pea
n C
ity)
, w
hich
was
on
e o
f th
e p
rim
e m
over
s fo
r B
erlin
’s d
evel
op
ers
in (r
e-) c
on
stru
ct-
ing
Ber
lin. I
n a
lot o
f pro
ject
s an
d in
itia
-ti
ves,
for
inst
ance
Inn
enS
tad
tAkt
ion
or
An
bau
Neu
eMit
te, w
e fo
ug
ht a
gai
nst
th
e re
actio
nar
y p
ersp
ecti
ve th
at o
ften
d
om
inat
es th
e d
ebat
e ab
ou
t Ber
lin. W
e
aske
d w
hich
Eur
op
e th
ey w
ere
talk
ing
ab
ou
t – th
at o
f Bel
fast
, Bel
gra
de
or
Ista
nb
ul?
Ber
lin’s
dev
elo
per
s tr
ied
to
avo
id U
S-A
mer
ican
or
Jap
anes
e ci
ties.
B
ut f
rom
a b
road
er p
ersp
ecti
ve, t
her
e ar
e m
any
oth
er m
od
els
of u
rban
izat
ion
, o
f dai
ly a
ctiv
itie
s, th
ou
gh
at th
e tim
e w
e st
ill d
idn
’t kn
ow
mu
ch a
bo
ut t
hem
. It
was
wit
h th
e b
oo
k M
etro
po
len,
whi
ch
we
wer
e co
mm
issi
on
ed to
wri
te in
a
cond
ense
d fo
rmat
of o
nly
95 p
ages
, tha
t w
e re
ally
sta
rted
to d
isco
ver
the
inte
r-es
ting
new
dyn
amic
s at
wo
rk b
eyo
nd
th
e Eu
rop
ean
Cit
y, a
nd
thes
e –
as w
e la
ter
lear
ned
an
d ar
e st
ill d
isco
veri
ng
–
are
infl
uen
cin
g B
erlin
, to
o.
We
wan
ted
to lo
ok
at w
hat
is b
eyo
nd
th
e id
ea o
f civ
itas,
su
ch a
s w
ritt
en
abou
t by
Ric
hard
Sen
nett
in h
is b
ook
Th
e C
on
scie
nce
of t
he
Eye:
Th
e D
esig
n an
d S
oci
al L
ife o
f Citi
es w
ith
re
gar
d to
civ
ilize
d b
our
geo
is s
oci
ety
wit
h it
s ru
les
and
reg
ulat
ion
s, w
ell-
fun
ctio
nin
g o
rder
s an
d th
e Fo
rdis
t d
ream
of a
wel
fare
sta
te. W
e w
ante
d
to lo
ok
bey
on
d al
l thi
s an
d ad
op
t a
mo
re g
lob
al p
ersp
ecti
ve. W
e w
ante
d
to e
xplo
re h
ow
info
rmal
str
uct
ures
em
erg
e in
the
Glo
bal
So
uth
, str
uct
ures
th
at a
re n
ow
ob
vio
usl
y al
so e
volv
ing
in
the
mid
dle
of E
uro
pe;
ho
w th
e w
elfa
re s
tate
is d
eclin
ing
and
peo
ple
h
ave
to h
elp
them
selv
es; o
r h
ow
the
ban
lieu
es a
re tr
yin
g to
sur
vive
via
se
lf-o
rgan
izat
ion
al p
roce
sses
cal
led
‘sh
ado
w e
con
om
ies’
. Mig
ratio
n an
d
so-c
alle
d lib
eral
izat
ion
– ‘y
ou
’ll h
ave
to
hel
p yo
urse
lf, b
ecau
se n
ob
od
y’s
go
ing
to
hel
p yo
u’–
the
kin
ds
of p
roce
sses
we
read
ab
ou
t in
Ista
nb
ul, L
ago
s o
r K
abul
, ar
e g
row
ing
sig
nifi
can
tly
; I c
all t
his
the
Inte
rnat
ion
al In
form
al S
tyle
. Yo
u n
oti
ce
that
ther
e ar
e fu
nct
ion
ing
stru
ctur
es
and
they
’re
no
t at a
ll ex
oti
c. B
ut y
ou
h
ave
to b
e ca
refu
l ab
ou
t say
ing
, ‘H
ey,
that
’s w
ork
ing
in s
om
e w
ays,
let’
s d
o
it h
ere,
too
’, b
ecau
se th
at’s
rea
lly th
e n
eolib
eral
way
of d
oin
g th
ing
s. O
n th
e o
ther
han
d, i
t’s
go
od
to b
e p
rep
ared
, to
lear
n ab
ou
t wh
at’s
co
min
g, i
n o
rder
to
kee
p w
hat
’s g
oo
d an
d em
anci
pa-
tive
, an
d g
et r
id o
f wh
at’s
eit
her
pur
ely
exp
loit
ativ
e o
r te
rrib
ly b
urea
ucr
atic
. T
his
rel
ates
– in
a v
ery
gen
eral
way
–
to t
he
idea
of m
etro
Zon
es, a
nd
ho
w to
st
ep b
eyo
nd
Ber
lin’s
per
cep
tion
of t
he
Euro
pea
n C
ity.
Pm
/Hm
: Yo
ur c
urre
nt w
ork
is s
tro
ng
ly
con
cern
ed w
ith
refr
amin
g lo
cal i
ssu
es
by
bri
ng
ing
them
in to
uch
wit
h d
ista
nt
geo
gra
phi
es th
at m
ay in
itia
lly s
eem
un
con
nec
ted
. Can
yo
u g
ive
us
som
e ex
amp
les
that
hig
hlig
ht t
hes
e o
bliq
ue
links
bet
wee
n th
e ur
gen
cy o
f Eur
op
e
or
the
so-c
alle
d Eu
rop
ean
Cit
y an
d
pla
ces
else
wh
ere?
Joch
en B
ecke
r: W
e st
arte
d o
ff b
y d
is-
cove
rin
g th
at th
e id
ea o
f th
e Eu
rop
ean
Cit
y w
as a
lso
pre
sen
t in
Leo
po
ldvi
lle,
the
cap
ital
of t
he
Bel
gia
n C
on
go,
whi
ch
had
bee
n sh
aped
by
Kin
g Le
op
old
II
and
was
ren
amed
Kin
shas
a af
ter
liber
atio
n. T
his
Afr
ican
cit
y w
as a
co
lon
ial p
rod
uct
an
d is
an
exam
ple
o
f ho
w th
e Eu
rop
ean
Cit
y ex
ists
no
t o
nly
in E
uro
pe
bu
t als
o al
l ove
r th
e co
lon
ized
wo
rld
. An
d b
y ex
plo
itin
g
the
Bel
gia
n C
on
go,
Leo
po
ld II
was
ab
le to
tran
sfo
rm B
russ
els
into
wh
at
no
w lo
oks
like
a E
uro
pea
n C
ity,
an
d
it b
ecam
e th
e ca
pit
al o
f Eur
op
e. H
e p
ursu
ed a
kin
d o
f Hau
ssm
ann
izat
ion
, d
estr
oyin
g o
ld B
russ
els
and
bu
ild-
ing
axes
or,
for
inst
ance
, th
e im
per
ial
Pala
ce o
f Ju
stic
e. F
or
wh
at w
e n
ow
ca
ll th
e cl
assi
cal E
uro
pea
n C
ity
oft
en
evo
lved
in th
e co
lon
ies.
Th
ou
gh
it w
as
no
t so
met
hin
g th
at h
app
ened
sep
ar-
atel
y, fo
r re
latio
ns
wer
e cl
ose
bet
wee
n
Euro
pe
and
the
colo
nie
s. A
nd
it w
as
also
no
t a o
ne-
way
str
eet:
the
situ
atio
n
was
co
mp
lex
and
is s
till s
o n
ow
. Du
e to
cu
rren
t mig
ratio
n p
olic
ies,
the
info
rma-
tion
soci
ety
and
so o
n, r
elat
ion
s ar
e ev
en li
velie
r to
day
bet
wee
n th
e fo
rmer
co
lon
ies
and
po
stco
lon
ial E
uro
pe.
So
o
ur n
ew, o
ng
oin
g re
sear
ch p
roje
ct is
ca
lled
Fro
m/T
o Eu
rop
e an
d ex
plo
res
such
issu
es.
For
year
s n
ow
, Mo
ham
med
has
bee
n
the
mo
st c
om
mo
n n
ame
cho
sen
fo
r b
oys
in B
russ
els,
an
d th
is r
eally
sa
ys s
om
ethi
ng
abo
ut h
ow
cit
ies
as
wo
rld
s ar
e em
erg
ing
wit
hin
Euro
pe,
w
ithi
n o
ur E
uro
pea
n ci
ties,
in a
ver
y co
ncr
ete
sen
se: i
f yo
u w
ant t
o fin
d a
‘No
llyw
oo
d’ p
rod
uct
ion
, a D
VD
fro
m
Nig
eria
, yo
u ju
st h
ave
to g
o to
the
nex
t ‘A
fro
sho
p’ –
yo
u d
on
’t h
ave
to o
rder
it
fro
m L
ago
s. S
uch
co
mm
unit
ies
exis
t h
ere
and
– if
you
wan
t to
wat
ch th
e D
VD
– y
ou
can
find
them
just
aro
und
th
e co
rner
. An
oth
er e
xam
ple
: th
e la
rges
t dia
spo
ra o
f Afg
han
s in
Eur
op
e liv
es in
Ham
bur
g.
We’
ve d
isco
vere
d h
ow
clo
se d
iasp
ori
c re
latio
nsh
ips
are
tow
ard
s th
e re
spec
-ti
ve c
oun
try
of o
rig
in, a
nd
that
this
is
the
case
eve
n w
ithi
n Eu
rop
ean
citie
s;
it is
als
o a
ten
den
cy th
at is
bo
und
to in
-cr
ease
wit
h th
e p
rese
nce
an
d p
ract
ices
o
f dif
fere
nt p
eop
les.
Ho
w d
o p
eop
les
surv
ive
wit
h th
e p
ract
ices
they
bri
ng
w
ith
them
– o
ften
ou
t of s
hee
r n
eed
or
raci
al e
xclu
sio
n?T
he
stat
e is
des
troy
ing
soci
al a
nd
po
lit-
ical
wel
fare
str
uct
ures
, an
d th
is is
why
p
eop
le w
ith
pre
cari
ou
s b
ackg
roun
ds
are
in g
ener
al fo
rced
to e
xerc
ise
a ki
nd
o
f in
form
alit
y: in
wh
at w
ays
do
they
h
ave
to b
etra
y th
e st
ate
to s
urvi
ve, a
s w
ell a
s o
rgan
ize
mo
ney
ille
gal
ly?
As
a p
ost
colo
nia
l str
uct
ure,
I th
ink
the
ban
lieu
es r
evea
l ho
w e
xtre
mel
y se
par
ate
soci
etie
s liv
e in
the
mid
dle
o
f Fra
nce
. Th
e co
untr
y is
div
ided
in
at le
ast t
hree
gro
up
s: th
e ve
ry r
ich,
w
ho
are
livin
g m
ore
or
less
dir
ectl
y in
Pari
s; th
en th
e d
ow
ng
rad
ed, p
rote
stin
g
mid
dle
cla
ss, w
ho
say
that
Par
is is
too
ex
pen
sive
an
d so
they
hav
e to
mov
e o
uts
ide
the
city
– ju
st li
ke th
e p
role
-ta
rian
or
po
st-p
role
tari
an p
op
ulat
ion
h
ad to
do
dec
ades
ag
o. T
he
mid
dle
cl
ass
no
w h
ave
to li
ve in
the
sub
urb
s,
bet
wee
n h
ou
sin
g es
tate
s in
the
ban
-lie
ues
, whi
ch is
the
thir
d st
ruct
ure.
Th
e b
anlie
ues
hav
e o
ther
way
s o
f ear
nin
g
mo
ney
, an
d p
eop
le tr
y to
sur
vive
an
d
org
aniz
e th
emse
lves
so
cial
ly, a
nd
this
al
so in
clu
des
gan
gst
er-l
ike
stru
ctur
es.
Th
ere
is h
ard
ly a
ny c
om
mun
icat
ion
b
etw
een
thes
e th
ree
gro
up
s, a
fact
that
has
bec
om
e ve
ry o
bvi
ou
s in
rec
ent
clas
hes
– a
s h
as a
lso
the
exis
ten
ce o
f an
un
dis
cuss
ed c
olo
nia
l bac
kgro
und
th
at is
rel
ated
to th
e cr
isis
in th
e b
anlie
ues
. We
wo
rked
on
this
in th
e an
ti-c
olo
nia
l film
gro
up
Rem
emb
er
Res
ista
nce
, in
our
pro
gra
mm
e B
ou
rdie
u in
the
Ban
lieu
e.
Wit
h th
e p
roje
ct C
ity
of C
OO
P, w
e d
is-
cove
red
ho
w p
ost
-cri
sis
Bu
eno
s A
ires
–
form
erly
the
mo
st E
uro
pea
n ci
ty in
S
ou
th A
mer
ica
– b
ecam
e p
art o
f Lat
in
Am
eric
a, th
ou
gh
wit
ho
ut g
ivin
g u
p th
e id
ea o
f a b
ette
r lif
e. In
Rio
, on
the
oth
er
Fash
ion
Sh
ow
fo
r C
ity
of C
OO
P (B
uen
os
Air
es &
Rio
de
Jan
eiro
), P
rate
r d
er V
olk
sbü
hn
e B
erlin
, 200
3
Ad
vert
isin
g fo
r C
ity
of C
OO
P (B
uen
os
Air
es &
Rio
de
Jan
eiro
), B
erlin
, 200
3
278
Par
alle
l Wo
rld
s In
terv
iew
279
Par
alle
l Wo
rld
s In
terv
iew
Pm
/Hm
: In
the
gro
up
Pla
tfo
rma
9,81
yo
u’v
e b
een
inve
stig
atin
g p
oss
ibili
ties
of t
ran
slat
ing
vari
ou
s lo
cal s
itu
atio
ns
and
hist
ori
es in
to e
ach
oth
er. W
hen
p
ursu
ing
a p
olit
ics
of c
on
nec
tivi
ty,
ho
w d
o yo
u d
eal w
ith
the
pro
ble
ms
o
f sh
arin
g an
d o
f allo
win
g fo
r a
sen
se
of c
om
mo
nal
ity
wit
ho
ut r
eso
rtin
g to
n
otio
ns
of s
imila
rity
an
d h
om
og
enei
ty?
mar
ko s
anca
nin
: Th
ere
are
thre
e th
ing
s I c
an b
riefl
y sa
y ab
ou
t thi
s. T
he
first
has
to d
o w
ith
com
par
ing
colla
bo
r-at
ive
net
wo
rks
in w
este
rn E
uro
pe
and
ea
ster
n o
r N
on
-EU
Eur
op
e; th
e se
con
d,
wit
h ar
chit
ectu
ral r
esea
rch
and
ho
w
it’s
dis
pla
yed
; an
d th
e th
ird
, wit
h an
-sw
erin
g th
e g
ener
al q
ues
tion
of w
hat
w
e al
l hav
e in
co
mm
on
. I w
ill s
tart
wit
h
the
thir
d: D
o w
e ac
tual
ly h
ave
anyt
hin
g
in c
om
mo
n? T
o an
swer
this
, it w
oul
d
be
nec
essa
ry to
mak
e so
me
loca
l in
qu
irie
s. T
ho
ug
h th
ere’
s o
ne
thin
g I’m
ce
rtai
n ab
ou
t: w
e al
l lac
k so
met
hin
g
wit
h re
spec
t to
ho
w th
e p
ub
lic d
om
ain
is
tran
sfo
rmed
, an
d h
ence
ho
w s
uch
tr
ansf
orm
atio
ns
are
gov
ern
ed. W
e al
l la
ck s
om
ethi
ng
that
we
aren
’t ab
le to
ex
pre
ss –
an
d ye
t we
lack
it to
get
her
. T
his
is p
rob
ably
the
bes
t po
ssib
le
dia
gn
osi
s an
d fo
reca
st fo
r cu
ltur
al
‘Wes
t-m
eets
-Eas
t’ e
xper
imen
ts.
I thi
nk
it’s
dif
ficu
lt to
wo
rk w
ith
us
bec
ause
we
ten
d to
pro
du
ce e
xces
s m
ean
ing
. Mo
reov
er, w
e o
ften
ten
d
to r
ewri
te o
ur p
rog
ram
me
bri
efin
gs
and
pro
ject
pro
po
sals
. We
op
erat
e in
lo
op
s –
pro
ceed
ing
fro
m th
e st
artin
g
hyp
oth
esis
whi
le a
lso
pro
bin
g p
ract
ical
p
aram
eter
s, a
nd
this
is n
ot a
par
ticu
-la
rly
effi
cien
t ap
pro
ach
for
a g
rou
p o
f ar
chit
ects
. A lo
t of t
ime,
en
erg
y an
d
mo
ney
go
es in
to e
xtra
act
ivit
ies
that
ar
e in
ten
ded
to in
crea
se in
stit
utio
nal
su
pp
ort
for
the
no
n-i
nst
itu
tion
al. T
his
is a
co
mp
lete
ly n
atur
al d
evel
op
men
t.
Sin
ce w
e’ve
acq
uir
ed a
cer
tain
am
oun
t o
f kn
ow
led
ge
and
exp
erti
se v
ia a
n
ideo
log
ical
pro
gra
mm
e (t
ho
ug
h so
me-
times
in o
pp
osi
tion
to th
e es
tab
lish
-m
ent)
, th
ere
is a
cle
ar n
eed
and
love
fo
r tr
uth
an
d kn
ow
led
ge,
as
wel
l as
an
epis
tem
olo
gic
al im
per
ativ
e to
dev
elo
p
inst
itu
tion
s o
ut o
f our
ow
n o
rgan
iza-
tion
s. T
his
is a
dev
elo
pm
enta
l sta
ge
and
thro
ug
h it
we
wo
uld
like
to r
each
a
po
int w
her
e w
e ca
n ac
tual
ly s
ust
ain
o
ur a
ctiv
itie
s. T
he
cult
ural
mar
ket
som
etim
es g
ives
yo
u m
ore
med
ia
visi
bili
ty, a
nd
enab
les
you
to h
ave
an im
pac
t on
po
licie
s...
for
exam
ple
, u
rban
po
licie
s. H
ow
ever
man
y o
f th
ese
so-c
alle
d re
sear
ch p
roje
cts
hav
e m
ore
to
do
wit
h d
isp
layi
ng
ph
eno
men
a in
a w
hit
e cu
be
than
pro
voki
ng
real
ch
ang
e. A
t th
e en
d it
has
mo
re to
do
w
ith
soci
al p
orn
og
rap
hy
than
inte
l-le
ctu
ally
co
mm
itte
d an
d en
gag
ed
pra
ctic
es. I
t is
som
etim
es a
lmo
st
imp
oss
ible
to c
olla
bo
rate
wit
h p
eop
le
wh
o h
ave
no
met
ho
do
log
y, th
eore
tica
l b
ackg
rou
nd
or
real
inte
rest
in th
e n
ew
com
mu
nit
aria
n id
eas
emb
edd
ed in
ar
chit
ectu
ral p
ract
ice.
Or
at le
ast t
his
h
as b
een
ou
r ex
per
ien
ce.
Wh
en w
e ta
lk a
bo
ut c
om
par
ing
colla
b-
ora
tive
net
wo
rks
in W
este
rn E
uro
pe
and
the
Bal
kan
s, w
e’re
stil
l sp
eaki
ng
ab
ou
t a s
itu
atio
n in
whi
ch th
ere
is a
co
mp
lete
lack
of r
eso
urce
s, a
nd
this
si
tuat
ion
actu
ally
forc
es p
eop
le to
co
llab
ora
te, t
o sh
are
idea
s, f
und
s,
infr
astr
uct
ure
and
equ
ipm
ent.
In
Wes
tern
Eur
op
e th
e si
tuat
ion
is d
if-
fere
nt.
It’s
on
e o
f ple
nty
. Or
at le
ast
this
is w
hat
frie
nd
s in
Wes
tern
Eur
op
e se
em to
be
exp
erie
nci
ng
. Bas
ical
ly
ever
yon
e in
volv
ed in
thes
e ac
tivi
ties
is
com
pet
ing
wit
h ea
ch o
ther
, esp
ecia
lly
bec
ause
of t
he
gro
win
g d
eman
d o
n th
e m
arke
t fo
r th
ese
kin
ds
of a
rchi
tect
ural
p
ract
ices
. Eve
ry m
use
um
or
gal
lery
w
ants
su
ch p
roje
cts
to s
pic
e u
p it
s an
nu
al p
rog
ram
me
a b
it.
han
d, a
lot o
f peo
ple
hav
e b
een
livin
g
in p
reca
rio
us
situ
atio
ns
for
ages
. Th
ey
hav
e n
o n
otio
n o
f th
e w
elfa
re s
tate
, b
ut a
re u
sed
to d
ealin
g w
ith
cris
es,
whi
ch d
istin
gu
ish
es th
em fr
om
man
y p
eop
le in
Arg
entin
a w
ho
had
had
no
p
revi
ou
s ex
per
ien
ce w
ith
such
sit
u-
atio
ns.
So
I thi
nk
we
can
all l
earn
a lo
t.
Pm
/Hm
: Ho
w c
an w
e ap
pro
pri
ate
thes
e w
ays
of l
earn
ing
you
’ve
de-
scri
bed
for
loca
l pro
ject
s, s
uch
as
for
the
tem
po
rary
str
uct
ure
of t
he
pro
ject
H
ier
Ents
teh
t at R
osa
-Lu
xem
bur
g P
latz
in
Ber
lin?
Joch
en B
ecke
r: W
ell,
com
par
e it
wit
h
Do
lmu
sh X
pre
ss –
a te
mp
ora
ry a
rt
pro
ject
in w
hich
yo
u co
uld
take
a p
ri-
vate
ly o
wn
ed t
axi,
sola
r b
oat
, or
ho
rse
carr
iag
e th
rou
gh
Kre
uzb
erg
– th
e id
ea
bei
ng
to c
op
y p
ract
ices
on
e-to
-on
e fr
om
Ista
nb
ul to
Ber
lin. I
thin
k th
is is
a
rath
er te
nu
ou
s id
ea b
ecau
se it
dis
-re
gar
ds
wh
at s
uch
thin
gs
mea
n w
ithi
n
the
con
text
of B
erlin
. Tru
e, a
kin
d o
f te
mp
ora
ry s
tru
ctur
e is
als
o cr
eate
d,
on
e th
at y
ou
mig
ht t
hin
k is
sim
ilar
to
Hie
r En
tste
ht.
Bu
t th
ere
are
dif
fer-
ence
s, a
nd
I wan
t to
sho
w th
is w
ith
an
exam
ple
: in
the
1970
s a
lot o
f arc
hite
cts
trav
elle
d to
the
Glo
bal
So
uth
. Th
ere
they
dis
cove
red
info
rmal
arc
hite
ctur
es
that
off
ered
a k
ind
of r
elie
f fro
m w
hat
w
as g
oin
g o
n in
the
po
st-i
llusi
on
al
per
iod
afte
r 19
68. T
hey
also
dis
cove
red
a
new
free
do
m o
f pla
nn
ing
, a s
ort
of
hyb
rid
dre
am. W
hen
they
ret
urn
ed, i
t tu
rned
ou
t to
be
imp
oss
ible
to im
pla
nt
this
into
Eur
op
ean
stru
ctur
es a
nd
reg
u-
latio
ns,
bu
t th
ey s
till t
ried
in a
nu
mb
er
of w
ays
to in
tro
du
ce p
arti
cip
ato
ry
arch
itec
ture
as
a fo
rm o
f sel
f-m
ade
arch
itec
ture
wit
hin
the
law
s o
f Eur
op
e.
It w
as a
lso
wit
hin
such
an
agen
da
that
w
e co
nn
ecte
d to
wh
at th
e te
am o
f Hie
r En
tste
ht w
as d
oin
g. R
eco
nst
ruct
ion
at
this
loca
tion
was
a fo
rm o
f par
tici
pa-
tory
arc
hite
ctur
e, a
nd
we
wan
ted
to
kno
w: w
hat
do
es th
is m
ean
tod
ay, a
nd
h
ow
mig
ht w
e d
emo
nst
rate
an
d st
ud
y it
wit
hin
the
stru
ctur
e o
f thi
s p
roje
ct?
marko sancanin
Gü
lsü
n K
aram
ust
afa
at S
elf S
ervi
ce C
ity:
Ista
nb
ul
Vo
lksb
üh
ne
Ber
lin, 2
003
7 Is
lan
ds
and
a M
etro
(M
um
bai
/Bo
mb
ay)
met
roZo
nes
in E
rsat
zSta
dt,
Vo
lksb
üh
ne
Ber
lin, 2
003
Invi
sib
le Z
agre
b
Init
iate
d b
y p
latf
orm
a 9,
81 in
200
3
280
Par
alle
l Wo
rld
s In
terv
iew
281
Par
alle
l Wo
rld
s In
terv
iew
Pm
/Hm
: In
wh
at w
ays
do
es
Pla
t fo
rma
9,81
try
to
go
bey
on
d
thes
e lim
itat
ion
s yo
u’v
e m
enti
on
ed,
for
inst
ance
, lim
itat
ion
s o
f in
stit
uti
on
al
dem
and
or
ind
ivid
ual
au
tho
rsh
ip?
mar
ko s
anca
nin
: In
a co
llect
ive,
the
qu
estio
n o
f th
e d
istr
ibu
tion
of c
apit
al,
wh
eth
er it
’s m
ater
ial o
r cu
ltur
al –
or
sym
bo
lic li
ke a
uth
ors
hip
– is
alw
ays
a la
ten
t rea
son
for
anta
go
nis
ms
wit
hin
th
e g
rou
p. T
he
way
we
neg
otia
te th
ese
anta
go
nis
ms
and
par
ticu
lar
inte
rest
s is
co
nn
ecte
d w
ith
the
deg
ree
to w
hich
the
final
pro
du
ct is
als
o p
rod
uce
d b
y o
ther
s –
no
n-a
rchi
tect
s in
par
ticu
lar.
If
we
man
age
to p
rod
uce
so
met
hin
g th
at
has
bee
n cl
earl
y m
ade
wit
h kn
ow
led
ge
ou
tsid
e o
ur o
wn
exp
erti
se, t
hen
it’s
d
iffi
cult
to c
laim
ow
ner
ship
an
d th
is
infl
uen
ces
the
way
the
final
pro
du
ct is
in
terp
rete
d, t
ran
slat
ed o
r d
isp
laye
d.
Loca
l cir
cum
stan
ces
hav
e co
ntr
ib-
ute
d to
man
y o
rgan
izat
ion
s in
Zag
reb
co
llab
ora
ting
bec
ause
they
sh
are
com
mo
n st
and
po
ints
on
the
po
litic
al,
cult
ural
an
d ec
on
om
ic c
ircu
mst
ance
s o
f tra
nsi
tion
. Org
aniz
atio
ns
wo
rkin
g in
d
iffe
ren
t fiel
ds
– su
ch a
s ar
chit
ectu
re,
visu
al a
rts,
per
form
ing
arts
or
new
me-
dia
– a
re s
om
eho
w a
ble
to u
nd
erst
and
ea
ch o
ther
an
d co
me
tog
eth
er. S
ince
a
lack
of r
eso
urce
s al
so e
con
om
ical
ly
defi
nes
ho
w w
e o
per
ate
and
shar
e id
eas
and
reso
urce
s, it
has
bee
n o
nly
n
atur
al fo
r u
s to
co
llab
ora
te w
ith
p
eop
le fr
om
the
Mul
timed
ia In
stit
ute
, th
e W
hat
, Ho
w a
nd
for
Wh
om
an
d th
e C
entr
e fo
r D
ram
a A
rts
and
oth
er o
rgan
-iz
atio
ns.
We
also
sh
are
a m
utu
al in
ter-
est i
n ‘i
nst
itu
ent’
pra
ctic
es o
f kn
ow
-le
dg
e p
rod
uct
ion
an
d h
ave
star
ted
p
aral
lel e
du
cati
on
al p
rog
ram
mes
. E
stab
lishi
ng
edu
catio
nal
env
iron
men
ts
is a
fo
rm o
f co
mm
un
ity
wo
rk t
hat
ex
amin
es t
he
issu
e o
f au
tho
rsh
ip,
wh
at w
e p
rod
uce
an
d h
ow
, wh
o
inve
sts
ho
w m
uch
an
d w
ho
ben
efits
fr
om
it. T
his
invo
lves
a to
tally
dif
fere
nt
und
erst
and
ing
fro
m th
e o
ne
arch
i-te
ctur
al p
ract
ices
usu
ally
hav
e. M
any
oth
er o
rgan
izat
ion
s fr
om
the
Zag
reb
C
ultu
ral C
apita
l 300
0 p
latf
orm
hav
e al
so p
arti
cip
ated
in s
uch
act
ivit
ies.
P
m/H
m: C
an th
ese
net
wo
rked
p
ract
ices
in th
e B
alka
ns
also
pro
vid
e a
refe
ren
ce fo
r en
gag
emen
t in
the
incr
easi
ng
frag
men
tatio
n el
sew
her
e?
mar
ko s
anca
nin
: As
an a
rchi
tect
yo
u
hav
e to
bo
rro
w c
on
cep
ts to
eve
n
thin
k ab
ou
t a p
roje
ct. A
rchi
tect
ure
h
as a
lway
s in
volv
ed th
e ap
plic
atio
n
of a
lrea
dy
exis
ting
con
cep
ts. S
o I
see
no
thin
g su
rpri
sin
g in
thin
kin
g th
at
the
unce
rtai
n st
ate
of t
he
EU is
a k
ind
o
f big
Bal
kan
con
cep
t fo
r a
com
ple
x p
olit
ical
sys
tem
of u
np
red
icta
ble
sh
ape.
Th
ou
gh
I do
n’t
see
any
furt
her
im
plic
atio
ns
her
e. Y
es, w
e co
uld
say
that
Eur
op
e, in
tryi
ng
to s
olv
e th
e B
alka
n p
rob
lem
, has
bee
n B
alka
niz
ed
itse
lf. W
ell,
so w
hat
.T
he
colla
bo
rati
ve p
ract
ices
of i
nd
e-p
end
ent c
ultu
ral s
cen
es fr
om
Cro
atia
o
r S
erb
ia h
ave
no
thin
g to
do
wit
h th
is.
At l
east
I h
aven
’t se
en a
ny v
alid
pro
of
to th
e co
ntr
ary.
I ca
n ju
st s
ay th
at
the
com
mo
n p
latf
orm
that
co
nn
ects
th
ose
of u
s fr
om
the
Bal
kan
s w
ho
are
invo
lved
in s
uch
arc
hite
ctur
al p
ract
ices
is
pro
bab
ly th
e sa
me
on
e th
at c
ause
s u
s to
co
llab
ora
te w
ith
dif
fere
nt o
rgan
i-
zatio
ns
loca
lly. W
e sh
are
som
e o
f our
id
eolo
gic
al v
iew
po
ints
, an
d th
ey’r
e in
op
po
sitio
n to
the
way
his
tory
is
rep
rod
uce
d h
ere;
we
also
hav
e in
co
m-
mo
n so
me
very
sim
ilar
ph
eno
men
a h
app
enin
g in
urb
an a
nd
rura
l env
iro
n-
men
ts; a
nd
we
all c
om
e fr
om
the
sam
e ty
pe
of e
con
om
y an
d p
olit
ical
sys
tem
. A
nd
sin
ce w
e b
asic
ally
sp
eak
the
sam
e la
ng
uag
e, w
e un
der
stan
d ea
ch o
ther
b
ette
r th
an w
e w
oul
d b
e ab
le to
in
Eng
lish
. So
thes
e ar
e th
e re
aso
ns
why
w
e al
l wo
rk to
get
her
. It’
s al
so w
hy I
am
op
timis
tic
abo
ut f
utu
re c
olla
bo
ratio
ns.
So
met
imes
I g
et a
bit
fru
stra
ted
b
ecau
se I
can
’t h
elp
th
inki
ng
th
at
Eu
rop
ean
inte
llect
ual
s, a
rtis
ts o
r cu
ltu
ral m
anag
ers
bel
ieve
th
at s
om
e fo
rm o
f po
litic
o-c
ult
ura
l arc
hae
olo
gy
in t
he
Bal
kan
s m
igh
t pro
vid
e th
em
wit
h f
resh
co
nce
pts
fo
r E
uro
pea
n
cult
ura
l dev
elo
pm
ent i
n g
ener
al. A
par
t fr
om
th
e fa
ct t
hat
su
ch a
vie
wp
oin
t is
sti
ll ex
trem
ely
colo
nia
l, I d
on
’t
thin
k w
e ca
n e
xpec
t to
un
der
stan
d
the
soci
al e
xper
imen
ts in
th
e fo
rmer
Y
ug
osl
avia
wit
ho
ut u
nd
erst
and
ing
th
e m
ult
i-la
yeri
ng
of c
ult
ura
l, p
olit
-ic
al a
nd
eco
no
mic
rel
atio
ns
that
hav
e b
een
op
erat
ing
th
ere
fro
m t
he
star
t.
Yo
u c
an’t
just
tu
rn ‘s
oci
alis
t hed
on
ism
’ o
r ‘s
elf-
go
vern
men
t’ in
to a
fet
ish
. A
rath
er h
ollo
w e
xpec
tati
on
exi
sts,
on
e th
at h
arb
ou
rs t
he
ho
pe
ther
e is
so
me-
thin
g t
ang
ible
– a
co
nce
ptu
al s
oci
al
syst
em –
th
at c
an b
e co
nn
ecte
d w
ith
th
e fo
rmer
Yu
go
slav
ia o
r th
e B
alka
ns.
Th
ere’
s a
wo
rk b
y A
nd
rei T
arko
vsky
th
at g
reat
ly r
esem
ble
s th
is s
itu
atio
n.
For
the
pas
t co
up
le o
f yea
rs w
e’ve
all
bee
n so
met
hin
g lik
e g
uid
es th
rou
gh
th
e ‘Z
on
e’. P
eop
le a
re s
till c
om
ing
fro
m
the
Wes
t to
inte
rvie
w u
s. W
e ta
ke th
em
to s
ee p
ost
-in
du
stri
al w
aste
lan
ds
or
unex
pec
ted
urb
an p
hen
om
ena
and
to
list
en to
the
sto
ries
of a
rtis
ts w
ho
g
ave
con
cep
tual
, bo
dy
art p
erfo
rm-
ance
s b
efo
re th
ey w
ere
inve
nte
d in
th
e W
est,
and
all t
hat
kin
d o
f stu
ff.
Bu
t th
e p
rob
lem
is th
at th
is ‘Z
on
e’ is
n
ow
em
pty
. Th
ere’
s n
o lo
ng
er a
nyth
ing
th
ere
for
you
to s
ee o
r un
der
stan
d.
Th
e re
al tr
uth
is th
at w
hen
yo
u vi
sit
the
Bal
kan
s, y
ou
’re
mo
st li
kely
to fi
nd
so
me
neu
roti
c fa
nta
sy, o
ne
you
’ve
bro
ug
ht w
ith
you
your
self.
Op
erat
ion
Cit
yP
eak
of t
he
Invi
sib
le Z
agre
b p
roje
ct
(10
-day
eve
nt w
ith
15,0
00 p
arti
cip
ants
), 2
005
Inst
alla
tio
n o
f an
envi
ron
men
t mad
e o
f bo
mb
ed c
on
tain
ers
fro
m S
araj
evo
and
mac
hin
ery
of c
on
stru
ctio
n co
mp
anie
s th
at w
ent b
ankr
up
t
Op
erat
ion
Cit
yZ
agre
b, 2
005
282
283
Conv
ersi
ons
Ber
lin
Form
er E
ast B
erlin
, 17
year
s af
ter
the
‘fal
l of t
he
wal
l’, 2
006
Ber
lin A
lexa
nd
erp
latz
Th
e ce
ntr
e o
f fo
rmer
Eas
t Ber
lin, 2
006
284
285
Form
er P
alas
t der
Rep
ub
lik
(Pal
ace
of t
he
Rep
ub
lic)
Ber
lin, 2
006
286
287
Kan
tstr
aße
Sh
op
s an
d se
rvic
e en
terp
rise
s al
on
g
Kan
tstr
aße
in f
orm
er W
est B
erlin
, lea
din
g
fro
m B
ahn
ho
f Zo
o to
Ch
arlo
tten
bu
rg, 2
006
288
Par
alle
l Wo
rld
s In
terv
iew
289
Par
alle
l Wo
rld
s In
terv
iew
Pm
/Hm
: Ap
art f
rom
exp
osi
ng
your
self
to
eve
ryd
ay s
itu
atio
ns,
this
so
rt o
f cr
eati
vity
has
to d
o w
ith
do
cum
entin
g
and
nar
ratin
g su
ch s
itu
atio
ns
wit
h
resp
ect t
o an
ou
tsid
e au
die
nce
. Ho
w
do
you
feel
ab
ou
t th
ese
dif
fere
nt l
evel
s o
f yo
ur w
ork
– th
e lo
cal e
ffec
t th
at is
re
late
d to
yo
ur w
ork
on
a o
ne-
to-o
ne
bas
is a
nd
its
effe
ct o
n th
e d
iscu
rsiv
e fi
eld
thro
ug
h w
hich
it g
ets
dis
trib
ute
d
glo
bal
ly?
seç
il y
erse
l: T
he
loca
l eff
ect w
e’ve
ex
per
ien
ced
in c
reat
ing
this
mul
ti-f
unc-
tion
al s
pac
e h
as b
een
mai
nly
rel
ated
to
our
no
t bei
ng
read
pro
per
ly, m
isre
ad o
r re
ceiv
ing
no
reco
gn
itio
n at
all.
Th
ou
gh
ar
t cri
tics
hav
e b
een
able
to w
rite
that
an
exh
ibit
ion
was
op
enin
g at
the
Od
a P
roje
si s
pac
e. A
nd
sin
ce th
ere
wer
e n
ot s
o m
any
arti
st-r
un s
pac
es a
t th
e tim
e in
Ista
nb
ul, t
his
aro
use
d p
eop
le’s
cu
rio
sity
. Als
o th
e ar
tist
s w
e w
ork
ed
wit
h w
ere
hap
py
to b
e in
vite
d to
a
pla
ce th
at w
as m
ore
than
an
exhi
bit
ion
sp
ace
or
a st
age.
Th
e p
arti
cip
ant a
nd
th
e au
die
nce
wer
e m
ore
aff
ecte
d th
an
the
art s
cen
e in
Ista
nb
ul. T
he
effe
cts
bec
ame
mo
re v
isib
le o
n th
e sc
ene
afte
r w
e le
ft th
e n
eig
hb
our
ho
od
and
star
ted
b
eco
min
g m
ore
mo
bile
. As
reg
ard
s th
e d
iscu
rsiv
e fi
eld
, th
e ef
fect
was
rat
her
th
at w
e w
ere
view
ed a
s an
exa
mp
le o
f a
‘Tur
kish
art
ist g
rou
p th
at w
ork
s w
ith
th
e p
ub
lic!’
We
star
ted
rece
ivin
g in
vi-
tatio
ns,
bu
t we
reje
cted
them
as
they
te
nd
ed to
rea
d u
s w
ron
g, e
xtra
ctin
g u
s fr
om
Ista
nb
ul a
nd
the
con
text
, see
ing
o
nly
our
act
ion
s o
r ju
st lo
oki
ng
for
resu
lts.
Th
ere
was
als
o an
oth
er e
ffec
t w
ith
reg
ard
to th
e d
iscu
rsiv
e fi
eld
: we
wer
e th
ou
gh
t of a
s an
art
ist g
rou
p th
at
coul
d b
e ta
ken
for
gra
nte
d b
etw
een
the
man
y m
use
um
s an
d cl
assi
c ex
hib
itio
n
spac
es. A
lon
g th
e lin
es o
f: W
hat
can
O
da
Pro
jesi
do
in s
uch
a s
pac
e? H
ow
ca
n w
e d
eal w
ith
them
? Yo
u m
igh
t ca
ll th
is a
po
siti
ve e
ffec
t. W
ell,
we’
ve
alw
ays
bee
n o
pen
to th
e fa
ct th
at w
hat
w
e’re
do
ing
in Is
tan
bul
mig
ht b
e in
ter-
pret
ed fr
om, l
et’s
say
, Jap
an, i
n a
vari
ety
of w
ays.
.. Fo
r ex
amp
le, t
he
pro
ject
has
o
ne
sid
e th
at h
as a
lot t
o d
o w
ith
the
loca
l co
nte
xt, b
ut i
t als
o h
as a
sid
e th
at
is m
ore
than
that
. We
dis
cuss
ed s
uch
is
sues
wh
en w
e p
ub
lish
ed a
n ed
itio
n
of A
nn
ex n
ewsp
aper
in S
tock
ho
lm a
nd
h
ow
an
art s
pac
e fu
nct
ion
s in
a c
ity.
T
he
peo
ple
we
invi
ted
had
a s
pac
e in
th
e p
erip
her
ies
of S
tock
ho
lm, i
n an
im
mig
ran
t nei
gh
bo
urh
oo
d, a
nd
we
wo
nd
ered
ho
w it
fun
ctio
ned
, bec
ause
w
e th
ou
gh
t it m
igh
t be
a g
reat
too
l an
d
sho
uld
hav
e a
po
wer
of i
ts o
wn
. Bu
t af
terw
ard
s w
e re
aliz
ed th
at th
e p
eop
le
in th
is a
rea
and
the
arti
sts
did
n’t
hav
e a
rela
tion
ship
wit
h ea
ch o
ther
, an
d th
e ar
tist
s w
ere
just
say
ing
to th
emse
lves
, ‘It
’s s
o st
ran
ge
and
inte
rest
ing
and
nic
e to
be
in s
uch
a n
eig
hb
our
ho
od
and
wo
rk p
art t
ime
as a
n ar
tist
.’ S
o, in
this
se
nse
, no
real
dis
cuss
ion
too
k p
lace
.
Pm
/Hm
: In
view
of s
uch
exp
erie
nce
s,
do
you
no
w s
ee y
our
selv
es m
ore
co
nce
rned
wit
h th
e co
nte
xt o
f art
p
rod
uct
ion
than
in y
our
firs
t pro
ject
, w
hich
focu
sed
on
the
actu
al s
pac
e o
f a
par
ticu
lar
cour
tyar
d?
Gü
nes
sav
as:
Yes
, bec
ause
we
thin
k,
as a
ru
le, t
he
po
wer
of a
rt a
nd
art
ists
h
as a
lway
s b
een
use
d o
n t
he
sam
e au
die
nce
, in
th
e sa
me
con
tex
t, e
ven
in t
he
sam
e la
ng
uag
e –
the
sam
e u
nd
erst
and
able
lan
gu
age
– an
d w
ith
th
e sa
me
peo
ple
aro
un
d. I
f we
can
w
ork
wit
h m
usi
cian
s w
ho
hav
e n
oth
-in
g to
do
wit
h c
on
tem
po
rary
issu
es,
or
an a
cto
r, o
r w
ith
oth
ers
fro
m d
if-
fere
nt d
isci
plin
es, t
hen
we
can
als
o
wo
rk w
ith
ou
r n
eig
hb
ou
rs. W
e fe
el
that
art
has
alw
ays
bee
n p
rod
uce
d
for
and
co
nsu
med
by
a ve
ry s
mal
l ci
rcle
of p
eop
le. I
mea
n, i
f yo
u g
o to
an
ex
hib
itio
n s
pac
e, m
od
es o
f tra
nsm
is-
sio
n a
re v
ery
limit
ed. E
xper
ien
ces
in
the
nei
gh
bo
urh
oo
d h
ave
shap
ed o
ur
pro
ject
an
d e
nab
led
it to
op
en it
self
u
p m
ore
. Lik
e n
ow
we’
ve b
eco
me
mo
re m
ob
ile a
nd
no
lon
ger
hav
e a
con
cret
e sp
ace:
we
wo
rk, f
or
inst
ance
, at
a r
adio
sta
tio
n o
r d
o p
roje
cts
in a
m
inib
us,
we
shar
e o
ur
exp
erie
nce
s in
dis
cuss
ion
s o
ut i
n t
he
fiel
d, a
nd
ca
rry
ou
t sh
ort
-ter
m p
roje
cts.
.. w
e’ve
al
so b
eco
me
mo
re d
eep
ly in
volv
ed in
ar
t pro
du
ctio
n. A
ll th
is h
as b
een
th
e ef
fect
of I
stan
bu
l as
a ci
ty o
n u
s! S
ince
w
e liv
e in
th
is c
ity
and
pro
du
ce w
ith
it,
we’
re c
on
stan
tly
tryi
ng
to u
nd
erst
and
h
ow
th
is c
ity
stay
s al
ive.
Pm
/Hm
: Th
e n
ame
of y
our
gro
up
– O
da
Pro
jesi
(ro
om
pro
ject
) – r
efer
s d
irec
tly
to y
our
firs
t pro
ject
: Ab
ou
t a
Use
less
Sp
ace.
Can
yo
u d
escr
ibe
wh
at
imp
ort
ance
this
pro
ject
had
an
d w
hy
you
inco
rpo
rate
d it
into
the
nam
e o
f yo
ur c
olle
ctiv
e?
seç
il y
erse
l: O
ur fi
rst p
roje
ct is
the
on
e w
e al
way
s so
meh
ow
fin
d o
urse
lves
g
oin
g b
ack
to o
r re
ferr
ing
to, e
ith
er in
b
etw
een
our
oth
er p
roje
cts
or
dur
ing
th
em. W
hen
we
first
mov
ed to
this
n
eig
hb
our
ho
od
in G
alat
a w
e h
adn
’t in
-te
nd
ed to
sta
rt s
uch
a p
roje
ct, b
ut a
fter
w
e st
arte
d m
eetin
g o
ur n
eig
hb
our
s an
d w
ork
ing
mo
re w
ith
the
dyn
amic
s o
f Ist
anb
ul, a
s w
ell a
s th
inki
ng
abo
ut
the
stat
e o
f th
e ar
t sce
ne
her
e, w
e as
ked
ho
w w
e m
igh
t acc
om
mo
dat
e th
e w
ay th
e n
eig
hb
our
ho
od
fun
ctio
ns
wit
hin
our
ow
n sp
ace.
We
did
n’t
wan
t to
rep
eat t
he
usu
al c
on
cep
ts o
ffer
ed b
y ‘a
rt’ s
pac
es to
‘au
die
nce
s’, s
o in
stea
d
we
first
trie
d to
cre
ate
a m
eetin
g p
oin
t.
We
emp
tied
on
e o
f our
thre
e ro
om
s,
and
mad
e it
avai
lab
le fo
r p
ote
ntia
l p
roje
cts,
whi
le th
e o
ther
ro
om
s re
-m
ain
ed m
ore
or
less
pri
vate
. Thi
s o
ne
roo
m n
ever
loo
ked
like
a w
hite
cu
be
o
r a
gal
lery
sp
ace.
It w
as ju
st e
mp
ty
and
clea
ner
than
the
oth
er r
oo
ms.
A
nd
bec
ause
it w
as e
mp
ty a
nd
clea
n,
it w
as li
ke a
gap
in th
e n
eig
hb
our
ho
od
, an
d th
e n
eig
hb
our
s ke
pt a
skin
g, ‘
Why
is th
e ro
om
em
pty
?’ T
his
is w
hen
w
e st
arte
d ta
lkin
g ab
ou
t a s
pac
e’s
po
ssib
ilitie
s.In
a s
ense
, it w
as r
eally
ab
ou
t a s
pac
e th
at c
ou
ld b
eco
me
a p
lace
. Sin
ce it
w
as o
pen
for
shap
ing
, we
invi
ted
p
eop
le to
it, b
oth
ou
r n
eig
hb
ou
rs a
nd
p
eop
le f
rom
the
art s
cen
e, a
nd
had
th
em r
ead
a te
xt b
y G
eorg
e P
erec
ca
lled
Ab
ou
t a U
sele
ss S
pac
e. T
he
text
was
ab
ou
t sea
rch
ing
for
a ro
om
th
at d
oes
n’t
hav
e a
fun
ctio
n, t
hat
is
inte
nti
on
ally
fu
nct
ion
less
. At fi
rst i
t’s
like
an e
nvi
ron
men
tal s
pac
e; it
’s e
very
roo
m in
wh
ich
you
can
po
ssib
ly d
o
som
eth
ing
: a r
oo
m fo
r cu
ttin
g yo
ur
nai
ls, a
ro
om
for
loo
kin
g o
uts
ide
– in
o
ther
wo
rds,
Per
ec w
as w
ritin
g ab
ou
t th
e p
oss
ibili
ty o
f a r
oo
m th
at h
as n
o
fun
ctio
n in
itse
lf, a
‘use
less
’ ro
om
. O
ver
the
pas
t eig
ht y
ears
, th
e sp
ace
has
act
ual
ly b
een
‘use
less
’: it
has
g
ain
ed a
nd
lost
its
fun
ctio
n d
uri
ng
p
roje
cts
and
dai
ly li
fe. I
t has
no
t rea
lly
bee
n an
‘art
sp
ace’
, a li
vin
g sp
ace,
w
ork
spac
e o
r st
ud
io. I
n b
etw
een
, it
has
had
man
y d
iffe
ren
t use
s.
Pm
/Hm
: To
enab
le a
sp
ace
to c
on
tinu
-o
usl
y re
-inv
ent i
tsel
f fo
r su
ch a
lon
g
per
iod
, on
e n
eed
s to
co
nsi
der
ho
w to
su
stai
n a
cert
ain
con
stit
uen
cy. H
ow
d
id y
ou
go
abo
ut t
his
pro
cess
of b
oth
co
ntin
uat
ion
and
chan
ge?
Özg
e a
çıkk
ol:
May
be
Ista
nb
ul it
self
h
elp
ed u
s a
lot.
.. T
he
pro
cess
hap
-p
ened
on
its
ow
n, b
ecau
se th
e ac
tion
s an
d ev
en th
e ‘c
urat
ing
’ ch
ang
ed fr
om
p
roje
ct to
pro
ject
. Fo
r ex
amp
le, w
e ca
rrie
d o
ut ‘
on
e-d
ay’ p
roje
cts
in w
hich
w
e in
vite
d p
eop
le to
the
roo
m: w
e to
ld
them
that
for
this
on
e d
ay it
wo
uld
be
thei
r sp
ace,
an
d ab
ou
t on
ce a
wee
k th
ey d
id th
eir
pro
ject
s th
ere.
We
also
in
vite
d o
ur n
eig
hb
our
s to
do
the
sam
e.
If a
spac
e d
oes
n’t
pre
sen
t its
elf a
s an
ex
hib
itio
n sp
ace,
then
the
aud
ien
ce
do
esn
’t re
ally
bec
om
e o
r ac
t lik
e an
aud
ien
ce. S
uch
a r
elax
ed s
itu
atio
n
also
op
ens
up
oth
er p
oss
ibili
ties.
Fo
r in
stan
ce, s
ince
peo
ple
did
n’t
actu
ally
kn
ow
the
clo
sin
g an
d o
pen
ing
ho
urs
of t
he
spac
e; th
ey w
oul
d ju
st d
rop
b
y. O
r it
was
po
ssib
le th
at s
om
eon
e w
ho
was
just
pas
sin
g b
y w
oul
d se
e a
ligh
t an
d sa
y, ‘W
hat
’s h
app
enin
g
her
e?’ a
nd
then
we
wo
uld
sit t
og
eth
er
and
talk
, an
d so
on
. Th
e fir
st p
eop
le
wh
o ca
me
to s
ee u
s o
r jo
ined
us
wer
e n
eig
hb
our
s; th
en th
ere
wer
e th
ose
w
e kn
ew a
nd
emai
led
, bu
t wh
o d
idn
’t
live
in th
e n
eig
hb
our
ho
od
– th
ey
wo
uld
com
e b
y to
see
wh
at w
e w
ere
do
ing
; las
t th
ere
wer
e th
ose
wh
o ju
st
hap
pen
ed to
pas
s b
y. S
o in
a s
ense
, it
also
has
to d
o w
ith
the
dis
cuss
ion
we
had
wit
h V
asıf
Ko
rtun
, wh
eth
er w
hat
w
e w
ere
do
ing
was
pu
blic
art
or
no
t.
Th
ou
gh
we
did
no
t rea
lly th
ink
abo
ut o
r d
iscu
ss w
het
her
we
wer
e d
oin
g p
ub
lic
art.
Th
e ty
pe
of a
rt w
e d
id e
mer
ged
al
on
g th
e w
ay a
s w
e d
id th
ing
s: th
eory
ca
me
afte
rwar
ds
– ac
tion
s w
ere
wh
at
do
min
ated
. An
d as
lon
g as
we’
ve b
een
h
ere,
an
d w
e’ve
bee
n in
the
sam
e n
eig
hb
our
ho
od
no
w fo
r 8
year
s, w
e’ve
h
ad r
elat
ion
ship
s th
at g
o b
eyo
nd
our
b
ein
g ar
tist
s. W
e’re
sim
ply
par
t of t
he
nei
gh
bo
urh
oo
d, e
ven
if w
e ar
e so
me-
wh
at s
tran
ge
nei
gh
bo
urs.
We’
ve tr
ied
to
sh
ape
this
kin
d o
f ro
le n
ot j
ust
wit
h
the
nei
gh
bo
urs
in G
alat
a b
ut a
lso
wit
h
the
art s
cen
e in
Ista
nb
ul!
oda Projesi
SO
FA
R S
O G
OO
D –
SO
WEI
T S
O G
UT
Nad
ine
Res
chke
Kin
dlim
ann
, Od
a P
roje
si c
ou
rtya
rd,
29 J
un
e 20
04
Od
a M
eeti
ng
s / T
he
Pic
ture
of M
y Li
feB
elm
in S
öyl
emez
& O
rhan
Cem
Çet
in, 8
th Is
tan
bu
l Bie
nn
ial
Po
etic
Ju
stic
e, 2
0 S
epte
mb
er –
16
No
vem
ber
200
3
290
Par
alle
l Wo
rld
s In
terv
iew
291
Par
alle
l Wo
rld
s In
terv
iew
ally
ab
le to
dis
cove
r an
d ex
per
ien
ce
wh
at a
net
wo
rk is
an
d h
ow
it w
ork
s.
It’s
incr
edib
le to
see
ho
w th
e K
urd
s ar
e co
nn
ecte
d to
eac
h o
ther
, an
d it
’s
extr
emel
y in
tere
stin
g an
d st
imu
latin
g
to b
e ab
le to
trac
e th
eir
net
wo
rks
as
wel
l as
map
the
geo
gra
ph
ies
of t
hes
e n
ew c
ult
ura
l id
enti
ties
in E
uro
pe.
Pm
/Hm
: Ho
w h
as th
is a
pp
roac
h o
f tr
acin
g d
iffe
ren
t cul
tura
l net
wo
rks
info
rmed
yo
ur w
ork
in C
orv
iale
, a
hu
ge
ho
usi
ng
blo
ck o
n th
e o
uts
kirt
s
of R
om
e, w
hich
has
bec
om
e a
sym
-b
olic
sit
e o
f urb
an c
on
flict
at t
he
city
’s
per
iph
ery?
iaco
po
Gal
lico
: Th
e id
ea w
as to
wo
rk
on
the
man
y ‘im
ages
’ of C
orv
iale
. Ho
w
do
the
inh
abit
ants
of R
om
e se
e an
d
thin
k o
f thi
s lo
catio
n, a
nd
ho
w d
o it
s in
hab
itan
ts v
iew
the
inst
itu
tion
and
m
unic
ipal
ity
of R
om
e? W
e tr
ied
to p
ro-
ceed
fro
m p
eop
le’s
per
cep
tion
of t
he
pla
ce, t
o cr
eate
new
rel
atio
nsh
ips
wit
h
its
inh
abit
ants
an
d g
o b
eyo
nd
com
mo
n
tale
s ab
ou
t it.
Wh
at w
e d
isco
vere
d w
as
that
Co
rvia
le is
the
pro
du
ct o
f a m
ix o
f p
olit
ics
and
arch
itec
ture
. It h
as 8
,000
in
hab
itan
ts a
nd
cost
11
mill
ion
euro
s to
bu
ild. T
ho
ug
h p
erh
aps
even
mo
re
imp
ort
ant,
the
mun
icip
alit
y h
as s
pen
t fo
ur ti
mes
that
am
oun
t in
the
pas
t 20
year
s, a
nd
this
was
alm
ost
alw
ays
in
rela
tion
to e
lect
ion
s. In
fact
, Co
rvia
le is
a b
ig b
ox c
reat
ed fo
r w
inn
ing
vote
s.
Of c
our
se y
ou
can
also
say
it’s
a
wo
nd
erfu
l ob
jet d
’art
, a s
culp
ture
, a
mo
nu
men
t – e
very
thin
g yo
u m
igh
t d
esir
e ex
cep
t a p
lace
to h
ou
se p
eop
le.
Nev
erth
eles
s, p
eop
le h
ave
bee
n ab
le
to a
dju
st to
life
insi
de
Co
rvia
le. L
eft t
o
t hei
r o
wn
dev
ices
, th
ey h
ave
org
an-
ized
them
selv
es a
nd
som
eho
w c
om
e to
term
s w
ith
the
pla
ce –
esp
ecia
lly
on
the
fou
rth
flo
or
wh
ere
ther
e is
this
co
rrid
or
run
nin
g th
rou
gh
the
mid
dle
of
the
bu
ildin
g. I
t was
ori
gin
ally
co
n-
ceiv
ed a
s a
linea
r se
rvic
e ar
ea. B
ut a
t
the
tim
e it
was
co
mp
lete
ly e
mp
ty, s
o
peo
ple
dec
ided
to s
qu
at a
nd
live
in it
. W
e d
id o
ur p
roje
ct o
n th
is fo
urth
flo
or,
an
d fo
und
a w
ay to
list
en a
nd
und
er-
stan
d. E
very
thin
g st
arts
wit
h lis
ten
ing
. In
Ara
rat,
we
wer
e al
so d
ealin
g w
ith
a
stro
ng
ly p
olit
iciz
ed c
om
mun
ity.
At
the
beg
inn
ing
it w
as q
uit
e h
ard
to
defi
ne
limit
s. A
rt a
llow
s yo
u to
cro
ss
the
bo
und
arie
s o
f po
litic
s. Y
et if
yo
u
beg
in b
y ap
pro
achi
ng
pro
ble
mat
ic
po
litic
al is
sues
, yo
u’ll
fin
d a
wal
l, a
wal
l o
f mis
und
erst
and
ing
. Bu
t if y
ou
star
t w
ith
the
spac
e it
self
and
ho
w to
org
an-
ize
it, s
har
e it
, or
the
likes
, it’
s to
tally
d
iffe
ren
t. In
Co
rvia
le, t
hin
gs
wer
e n
o
dif
fere
nt.
We
earn
ed th
e tr
ust
of i
ts
inh
abit
ants
; th
ey u
nd
erst
oo
d th
at w
e w
eren
’t th
e u
sual
mun
icip
al a
rchi
tect
s o
nly
inte
rest
ed in
mea
suri
ng
thei
r ap
artm
ents
. We
wan
ted
to c
om
pre
-h
end
mo
re, f
or
inst
ance
the
geo
gra
ph
y o
f th
e re
lati
on
ship
s in
terw
ove
n in
to
the
spac
e.W
e’re
no
w a
ble
to s
ay th
at s
elf-
org
aniz
atio
n st
arts
wit
h th
e ca
pab
ility
to
ad
apt y
ou
r n
eed
s to
a c
on
text
; th
is
mea
ns
hav
ing
no
ou
tsid
e in
terl
ocu
tors
w
ho
imp
ose
ru
les
abo
ut h
ow
yo
u
hav
e to
man
age
thin
gs.
Ou
r re
sear
ch
is b
ased
on
a co
nce
pt r
eflec
ted
also
in
ho
w w
e o
per
ate
as a
net
wo
rk. T
his
n
etw
ork
is n
ot c
on
ceiv
ed h
iera
rch
ical
-ly
; mem
ber
s o
f Sta
lker
are
co
mp
lete
ly
ind
epen
den
t fro
m o
ne
ano
ther
. In
ou
r
soci
ety
this
is a
pre
con
dit
ion
that
has
to
be
esta
blis
hed
in o
rder
to tr
ansf
orm
co
mp
etit
ion
into
co
llab
ora
tio
n. I
t in
-vo
lves
the
abili
ty o
f au
ton
om
ou
s in
di-
vid
ual
s to
wo
rk to
war
d th
e sa
me
end
, th
e sa
me
pro
ject
. We
can
thin
k ve
ry
dif
fere
ntl
y, b
ut i
f we
shar
e th
e sa
me
pro
ject
, we
can
colla
bo
rate
tog
eth
er.
Th
is is
the
stre
ng
th o
f net
wo
rkin
g.
Pm
/Hm
: Ho
w h
ave
thes
e ex
per
ien
ces
of c
on
nec
ting
iden
titie
s, lo
calit
ies
and
Pm
/Hm
: Sta
lker
is a
net
wo
rk k
no
wn
fo
r se
ttin
g u
p en
coun
ters
wit
h o
ther
cu
ltur
al n
etw
ork
s an
d ex
pan
din
g th
e tr
adit
ion
al s
cop
e o
f cre
ativ
e p
ract
ice.
Fo
r in
stan
ce, S
talk
er s
tart
ed A
rara
t in
C
amp
o B
oar
io a
s an
art
pro
ject
, bu
t it
seem
s to
hav
e ta
ken
on
a lif
e o
f its
o
wn
. Is
this
flo
w o
f ag
ency
so
met
hin
g
that
is in
her
ent t
o th
e id
ea o
f Sta
lker
?
iaco
po
Gal
lico
: Sta
lker
evo
lved
mai
nly
o
ut o
f an
atti
tud
e ad
op
ted
by
arch
itec
-tu
re s
tud
ents
wh
en th
ey s
qu
atte
d at
V
alle
Giu
lia, t
he
Facu
lty
of A
rchi
tect
ure
at th
e U
niv
ersi
ty o
f Ro
me
La S
apie
nza
. T
his
was
in 1
990.
A g
rou
p o
f stu
den
ts,
wh
o w
ere
no
t ass
oci
ated
wit
h an
y
par
ticu
lar
ideo
log
y o
r p
olit
ical
par
ty,
too
k a
po
litic
al a
ctio
n –
‘sq
uat
ting
’ –
as th
eir
po
int o
f dep
artu
re. T
hey
trie
d
livin
g in
the
univ
ersi
ty, a
nd
mak
ing
it
a sp
ace
that
wo
uld
allo
w th
em to
im
agin
e a
dif
fere
nt w
orl
d an
d a
dif
-fe
ren
t way
of v
iew
ing
the
rela
tion
ship
b
etw
een
cult
ure
and
spac
e. H
ence
, fo
r u
s S
talk
er is
a ‘l
abo
rato
ry o
f urb
an a
rt’.
Thi
s m
ean
s th
ere
is a
gro
up
of p
eop
le
wh
o w
ant t
o id
enti
fy w
ith
oth
ers
and
u
se s
pac
e as
a d
evic
e to
do
so –
an
d
this
is w
hat
det
erm
ines
Sta
lker
. It’
s a
flex
ible
co
nst
ella
tion
of p
eop
le o
per
at-
ing
in th
e m
om
ent,
a m
om
ent s
hap
ed
by
on
-go
ing
pro
ject
s; th
ere’
s a
dir
ect
rela
tion
ship
bet
wee
n th
e p
roje
ct to
b
e d
evel
op
ed a
nd
the
pro
file
of t
he
gro
up w
ho
are
in c
harg
e o
f dev
elo
pin
g
it, a
nd
for
us
this
is ‘a
net
wo
rk’.
In
pro
ject
s lik
e A
rara
t, X
eno
bia
: th
e C
ity,
th
e S
tran
ger
s an
d th
e B
eco
min
g of
Pu
blic
Sp
ace
(Ara
rat,
Xen
ob
ia: l
a ci
ttà,
g
li st
ran
ieri
e il
div
enir
e d
ello
sp
azio
p
ub
blic
o) o
r Im
agin
ing
Co
rvia
le, a
n
etw
ork
rep
rese
nts
the
pro
ject
itse
lf:
if yo
u ta
ke a
map
of e
very
on
e in
volv
ed
in a
pro
ject
, it d
oes
n’t
just
rep
rese
nt
a co
nfi
gur
atio
n o
f peo
ple
we
rela
te
to o
r fo
llow
, bu
t als
o m
irro
rs th
e co
mp
lexi
ty w
e’ve
foun
d. S
uch
a m
ap
enab
les
you
to u
nd
erst
and
the
kin
d
of w
ork
that
is e
mer
gin
g.
Cam
po
Bo
ario
was
a s
lau
gh
terh
ou
se
situ
ated
in a
n in
du
stri
al p
art o
f Ro
me
at th
e en
d o
f th
e n
inet
een
th c
entu
ry.
Wh
en th
e ci
ty e
xpan
ded
, it b
ecam
e un
usa
ble
an
d so
was
ab
and
on
ed in
1975
. At t
he
time
I was
livi
ng
no
t far
fr
om
it. F
rom
my
roo
m it
loo
ked
like
it
was
em
pty
an
d I o
ften
tho
ug
ht i
t was
a
sham
e th
at th
e ci
ty d
idn
’t m
ake
it av
ail-
able
to th
e p
ub
lic. W
hen
I fin
ally
vis
ited
it
, I r
ealiz
ed th
at it
was
no
t vac
ant.
In
fact
, th
ere
was
an
air
of f
ear
and
sus-
pic
ion
abo
ut t
he
pla
ce, a
nd
it w
as a
ny-
thin
g b
ut e
mp
ty: m
any
com
mun
itie
s o
f fo
reig
ner
s liv
ed th
ere
– K
ald
eras
h,
No
rth
Afr
ican
s, p
eop
le fr
om
eas
tern
Eu
rop
e an
d o
ther
s w
ho
had
just
foun
d
shel
ter
ther
e. T
hey
all
shar
ed th
is
spac
e, w
hich
so
meh
ow
was
in a
so
rt
of d
ynam
ic b
alan
ce. W
e fir
st e
nte
red
th
is ‘m
icro
cosm
’ dur
ing
the
Bie
nn
ial
of Y
oun
g A
rtis
ts fr
om
Eur
op
e an
d th
e M
edit
erra
nea
n, w
hich
too
k p
lace
at
the
Cam
po
Bo
ario
in 1
999,
tho
ug
h
in a
res
tore
d se
ctio
n o
f th
e co
mp
lex.
T
he
top
ic o
f th
e ex
hib
itio
n w
as p
ub
lic
spac
e, a
nd
tog
eth
er w
ith
the
com
mu
-n
ity
of K
urd
s w
ho
had
arr
ived
in R
om
e fo
llow
ing
the
Öca
lan
affa
ir, S
talk
er
squ
atte
d in
the
vete
rin
ary
bu
ildin
g. T
he
aim
was
to c
reat
e a
cult
ural
cen
tre
in
this
‘pro
mis
cuo
us’
pu
blic
sp
ace
– p
ro-
mis
cuo
us
in th
e se
nse
that
on
e an
d th
e sa
me
spac
e fu
lfille
d m
ultip
le p
urp
ose
s an
d so
sat
isfi
ed th
e n
eed
s o
f th
e co
m-
mun
ity.
Ab
ove
all i
t was
a p
lace
wh
ere
dif
fere
nt c
ultu
res
coul
d m
eet.
Th
is s
pac
e co
nst
itu
tes
a ‘m
arg
inal
ar
ea’,
wh
at w
e ca
ll an
‘act
ual
terr
ito
ry’.
Th
is m
ean
s a
terr
ito
ry c
on
tinu
ou
sly
in a
sta
te o
f bec
om
ing
and
tran
s-fo
rmin
g. I
t’s
stra
ng
e to
go
to A
rara
t,
as w
e n
amed
it, b
ecau
se y
ou
alw
ays
enco
un
ter
dif
fere
nt p
eop
le th
ere
– in
fa
ct, t
his
asp
ect i
s ev
en s
tran
ger
than
ex
per
ien
cin
g h
ow
the
pla
ce it
self
is
ch
ang
ing
. Th
ou
gh
this
is s
o o
nly
b
ecau
se A
rara
t has
rem
ain
ed a
n o
pen
sp
ace,
a p
latf
orm
for
mee
ting
and
ex
chan
ge,
a r
eal h
ub
; her
e w
e’re
act
u-
iacopo Gallico
Via
Eg
nat
iaO
sser
vato
rio
No
mad
e, w
ork
sho
p, 2
001
Th
e sq
uat
ted
fou
rth
flo
or
of N
uo
vo C
orv
iale
, a 9
58 m
etre
lo
ng
esta
te o
n th
e so
uth
wes
tern
ou
tski
rts
of R
om
e h
ou
sin
g
mo
re t
han
6,0
00 p
eop
le (
des
ign
ed b
y M
ario
Fio
ren
tin
o in
19
72 a
nd
bu
ilt b
etw
een
1975
-198
2), R
om
e, 2
006
New
roz,
200
2A
rara
t, in
terc
ult
ura
l cen
tre
and
lab
ora
tory
of u
rban
art
at
th
e C
amp
o B
oar
io, R
om
e, in
itia
ted
by
Sta
lker
in 1
999
292
Par
alle
l Wo
rld
s In
terv
iew
293
Par
alle
l Wo
rld
s In
terv
iew
Pm
/Hm
: Tra
vel,
role
-pla
y, tr
ansf
orm
-at
ion
– th
ere’
s a
cert
ain
line
of d
isp
lace
-m
ents
to b
e fo
und
in y
our
wo
rk. W
hat
ro
le d
o su
ch d
isp
lace
men
ts p
lay
in th
e w
ay y
ou
pro
du
ce a
rt?
ric
ard
o B
asb
aum
: Art
ists
sh
oul
d n
ot
con
tro
l mea
nin
gs,
an
d h
ow
peo
ple
p
lay,
pro
ject
an
d im
agin
e th
ing
s in
re
latio
n to
thei
r w
ork
. Th
ese
thin
gs
sho
uld
rem
ain
op
en. I
t’s
inte
rest
ing
for
arti
sts
to d
isco
ver
that
they
do
n’t
exis
t p
rio
r to
thei
r w
ork
s, b
ut a
re r
einv
ente
d
each
tim
e an
ew. M
any
thin
kers
hav
e ex
pre
ssed
su
ch th
ou
gh
ts. M
ost
ob
vi-
ou
sly,
Del
euze
an
d G
uat
tari
, to
wh
om
I f
eel p
arti
cula
rly
clo
se. T
hey
oft
en
talk
ab
ou
t su
ch m
atte
rs. T
he
sub
ject
co
mes
aft
er th
e re
st; i
t’s
no
t wh
at’s
in
the
fore
gro
und
.
For
an a
rtis
t thi
s is
rea
lly th
e p
layf
ul
par
t of a
rtw
ork
s. If
yo
u th
ink
you
kno
w
wh
o yo
u ar
e an
d co
nst
antl
y ta
ke it
for
gra
nte
d, y
ou
’ll s
imp
ly r
uin
yo
ur w
ork
. Yo
u n
eed
to g
o b
ehin
d th
ing
s, b
ecau
se
it’s
all
a g
ame.
I th
ink
on
e o
f th
e m
ost
in
tere
stin
g th
ing
s fo
r an
art
ist i
s to
let
him
self
/her
self
be
rein
ven
ted
in s
om
e w
ay a
nd
be
carr
ied
away
by
the
wo
rk
he
/sh
e is
do
ing
. Th
ou
gh
this
has
lim
its.
It
isn
’t th
at y
ou
’re
reb
orn
eac
h tim
e,
bu
t th
at y
ou
’re
able
to p
lay
and
ther
e ar
e sp
aces
wit
h w
hich
yo
u ca
n p
lay.
If
you
’re
awar
e o
f thi
s, y
ou
can
inco
rpo
r-at
e it
into
ho
w y
ou
wo
rk a
s an
art
ist.
S
o th
at’s
wh
at I
like
and
try
to w
ork
w
ith
. I w
ork
wit
h ro
les,
tho
ug
h th
is
do
esn
’t ju
st h
ave
to d
o w
ith
the
role
s o
f th
e ar
tist
, cri
tic
or
cura
tor,
bu
t als
o
wit
h m
y th
inki
ng
and
ho
w I
dep
art
fro
m d
iffe
ren
t way
s o
f cre
atin
g th
ese
role
s. A
pro
po
s th
e im
age
of t
he
artis
t,
wh
at k
ind
of a
rtis
t do
you
wan
t to
b
e? D
o yo
u w
ant t
o b
e at
the
top
of
the
mar
ket?
So
me
arti
sts
wan
t th
is
extr
emel
y b
adly
. It’
s tr
ue
this
is a
p
oss
ible
po
siti
on
for
an a
rtis
t. Y
ou
ca
n p
lay
wit
h fa
shio
n; y
ou
can
pla
y w
ith
mar
gin
alit
y; y
ou
can
pla
y w
ith
su
ffer
ing
and
the
role
of t
he
rom
anti
c ar
tist
. In
art h
isto
ry, t
her
e’s
also
this
ga
me
wit
h th
e im
age
of t
he
artis
t – a
nd
it
can
be
trac
ed.S
o I h
ave
bee
n p
layi
ng
m
ore
or le
ss w
ith
thes
e d
iffe
ren
t ro
les
(art
ist,
ag
ent,
cri
tic,
cu
rato
r) a
nd
wit
h
the
imag
e o
f th
e ar
tist
I w
ou
ld li
ke to
n
ego
tiat
e. In
thes
e ro
les
I in
clu
de
a ce
rtai
n su
bje
ctiv
e co
mp
on
ent.
No
t th
at I’
m c
om
ple
tely
co
nsc
iou
s o
f th
is
bu
t it i
s, to
an
exte
nt,
an
asp
ect t
hat
in
tere
sts
me.
Pm
/Hm
: Po
litic
ally
an
d so
cial
ly e
n-
gag
ed a
rt is
oft
en c
on
cep
tual
ized
in r
e-la
tion
to w
ork
ing
wit
h se
lect
ed g
rou
ps
or
com
mun
itie
s. In
wh
at y
ou
des
crib
e,
you
seem
to m
istr
ust
dir
ect i
nvo
lve-
men
t in
po
litic
al s
itu
atio
ns
and
pre
fer
a m
ore
pla
yful
neg
otia
tion
of p
ow
er.
Wh
at k
ind
s o
f po
litic
s an
d ae
sth
etic
s em
erg
e fr
om
this
inte
ract
ion?
ricardo Basbaum
tem
po
ralit
ies
info
rmed
the
net
wo
rk o
f O
sser
vato
rio
No
mad
e, w
hich
yo
u cr
e-at
ed to
faci
litat
e an
un
der
stan
din
g o
f th
e ch
ang
ing
geo
gra
phi
es o
f Eur
op
e?
iaco
po
Gal
lico
: Oss
erva
tori
o N
om
ade
is a
n in
terd
isci
plin
ary
rese
arch
pro
ject
in
itia
ted
by
Sta
lker
that
pro
po
ses
way
s o
f in
terv
entio
n b
ased
on
spat
ial
pra
ctic
es o
f exp
lora
tion
, lis
ten
ing
and
re
latio
n, a
ctiv
ated
thro
ug
h cr
eati
ve
too
ls o
f in
tera
ctio
n w
ith
the
envi
ron
-m
ent a
nd
the
inh
abit
ants
, an
d ar
chiv
es
of m
emo
ries
. It’
s a
met
a-st
ruct
ure
we
dev
elo
ped
for
the
pro
ject
On
Egn
atia
, a
Path
of D
isp
lace
d M
emo
ries
in 2
004.
T
he
idea
was
to b
uild
a m
etap
ho
rica
l an
d tr
ansn
atio
nal
mo
nu
men
t wit
h
sto
nes
, Sal
entin
e st
on
es. F
or
us
thes
e st
on
es w
ere
a sy
mb
ol o
f pai
n
as w
ell a
s tr
adit
ion
, of t
he
rela
tion
-sh
ip b
etw
een
man
an
d te
rrit
ory
. We
use
d th
e st
on
es to
co
llect
sto
ries
fro
m
peo
ple
wh
o h
ad m
igra
ted
alo
ng
the
Via
Eg
nat
ia.
We
retu
rned
the
sto
nes
to
loca
tion
s w
her
e th
e sp
eake
rs a
sked
u
s to
bec
ause
so
met
hin
g sp
ecia
l had
h
app
ened
alo
ng
the
way
to th
em th
ere.
T
he
Via
Eg
nat
ia is
an
anci
ent p
ath
th
at fo
llow
s th
e V
ia A
pp
ia a
nd
go
es to
Is
tan
bul
; it w
as c
on
stru
cted
dur
ing
the
Ro
man
Em
pir
e to
tak
e th
e ar
my
to th
e b
ord
er, b
ut i
t has
ch
ang
ed it
s co
urse
m
any
times
ove
r th
e ag
es. N
ow
the
Gre
eks
are
bu
ildin
g a
very
mo
der
n
mo
torw
ay th
ere,
cal
led
Egn
atia
Od
os.
It
run
s st
raig
ht t
hro
ug
h th
e co
untr
y,
fro
m Ig
ou
men
itsa
to th
e Tu
rkis
h
bo
rder
. Yet
sin
ce h
isto
rica
lly th
e V
ia
Egn
atia
pas
sed
thro
ug
h A
lban
ia, i
ts
re-e
stab
lish
men
t see
ms
stra
ng
ely
con
nec
ted
wit
h ea
ster
n Eu
rop
e –
and
so
for
us,
it h
as tu
rned
into
a d
evic
e to
rev
eal t
he
com
ple
xity
of t
his
par
t o
f Eur
op
e an
d it
s ci
ties,
wh
ere
new
co
mm
unit
ies
of d
iffe
ren
t peo
ple
s ar
e em
erg
ing
. In
ord
er to
co
llect
sto
ries
, w
e d
evel
op
ed –
in fo
r ex
amp
le R
om
e,
Ath
ens,
Par
is a
nd
Ber
lin –
ag
enci
es o
f
the
Oss
erva
tori
o N
om
ade
net
wo
rk,
a tr
ansd
isci
plin
ary
gro
up
of p
eop
le
cap
able
of s
har
ing
thei
r ap
pro
ach
to
a te
rrit
ory
an
d a
con
text
, wh
ere
con
text
mea
ns
no
t a s
tati
c p
lace
bu
t a
com
ple
x an
d d
ynam
ic r
ealit
y fo
rged
b
y co
nn
ectio
ns
and
rela
tion
ship
s b
etw
een
agen
ts w
ho
inte
ract
wit
h th
e
terr
ito
ry. T
o re
veal
the
com
ple
xity
of
this
rea
lity,
we
use
d th
e O
sser
vato
rio
N
om
ade
net
wo
rk a
nd
invo
lved
dif
-fe
ren
t in
div
idu
als
wh
o –
du
e to
thei
r se
nsi
bili
ties
and
inte
rest
s –
wo
uld
be
able
to m
on
ito
r th
e ve
ry c
om
ple
xity
it
rep
rese
nts
. An
d th
is is
a c
om
ple
x-
ity
that
is a
lway
s al
so r
epre
sen
ted
by
ano
ther
co
mp
lexi
ty, o
ne
man
ifes
ting
it
self
in th
e re
pre
sen
tatio
n o
f a s
yste
m
of r
elat
ion
ship
s b
etw
een
agen
ts a
nd
in
terl
ocu
tors
.
Nu
ovo
Co
rvia
le, R
om
e, 2
006
Bel
ow
Nu
ovo
Co
rvia
le, R
om
e, 2
006
Wo
uld
yo
u lik
e to
par
tici
pat
e in
an
arti
stic
exp
erie
nce
?20
pai
nte
d st
eel o
bje
cts
circ
ula
tin
g in
Lat
in A
mer
ica,
Eu
rop
e an
d A
fric
a, 1
994
-200
7, d
ocu
men
tati
on
by
the
par
tici
pan
ts o
n
ww
w.n
bp
.pro
.br;
vie
w o
f th
e in
stal
lati
on
at t
he
Au
e-P
avill
on
, d
ocu
men
ta 1
2, K
asse
l, 20
07
dia
gra
m (
pas
sag
es)
Ric
ard
o B
asb
aum
, 200
1
294
Par
alle
l Wo
rld
s In
terv
iew
295
Par
alle
l Wo
rld
s In
terv
iew
ric
ard
o B
asb
aum
: It’
s co
mp
lex.
As
som
eon
e w
ho
gre
w u
p in
the
1980
s I d
on
’t kn
ow
to w
hat
ext
ent a
uto
pia
is
a p
rod
uct
ive
thin
g. I
do
n’t
bel
ieve
in
mag
ical
so
lutio
ns.
It’s
su
ch a
slo
w
pro
cess
. It’
s al
way
s ab
ou
t neg
otia
ting
an
d m
ovin
g th
rou
gh
emp
ty s
pac
es.
Wh
en I
spea
k ab
ou
t Bra
zilia
n cu
ltur
e it
’s v
ery
clea
r to
me
that
I h
ave
to
spec
ify
wh
at I’
m r
efer
rin
g to
. Wh
en I
say
Bra
zilia
n cu
ltur
e, I
do
n’t
mea
n o
f-fi
cial
Bra
zilia
n cu
ltur
e, b
ecau
se I
do
n’t
re
ally
car
e ab
ou
t or
bel
ieve
in it
. I th
ink
the
mai
n p
arts
of a
ny c
ultu
re a
ren
’t
the
offi
cial
on
es. S
o it
’s d
iffi
cult
tod
ay
to b
elie
ve in
a b
ig to
talit
y. It
’s a
lway
s ab
ou
t sm
all g
rou
ps.
Alt
ho
ug
h sm
all f
or
a ci
ty is
on
e th
ing
; sm
all f
or
a co
untr
y,
ano
ther
; an
d sm
all f
or
the
wo
rld
, a lo
t.
It’s
rea
lly d
iffi
cult
, it t
akes
tim
e an
d
has
its
ow
n d
ynam
ics.
Nev
erth
eles
s, I
thin
k th
ere
are
cert
ain
links
that
cer
tain
p
eop
le ju
st s
pre
ad a
nd
crea
te. A
nd
th
ey c
an v
ery
slo
wly
co
nta
min
ate
oth
ers.
I b
elie
ve th
is g
rou
p o
f mill
ion
s w
orl
dw
ide
has
a d
iffe
ren
t sp
eed
, an
d
they
’re
awar
e o
f so
met
hin
g o
ther
s d
on
’t ca
re a
bo
ut.
An
d th
is is
so
met
hin
g
I’d li
ke to
bel
ieve
. Th
ou
gh
it’s
no
t th
e to
talit
y o
f eve
ryb
od
y w
ho
is in
tere
sted
. A
nd
I do
n’t
mea
n th
ere’
ll b
e a
kin
d o
f re
dem
ptio
n –
I do
n’t
thin
k th
at w
ill e
ver
hap
pen
.A
nyw
ay, i
t’s
alw
ays
a g
ame.
A g
ame
pla
yed
by
cert
ain
gro
up
s th
at d
on
’t
fit i
n co
mp
lete
ly o
r ar
e m
ore
aw
are
or
cari
ng
. No
t th
at th
ese
peo
ple
are
ill
um
inat
ed o
r sp
ecia
l. It
’s ju
st a
kin
d
of i
nci
tem
ent t
hat
’s in
tere
stin
g to
cul
-ti
vate
an
d n
ot e
very
bo
dy
exp
erie
nce
s th
e sa
me
inci
tem
ent a
t th
e sa
me
time.
I b
elie
ve s
tro
ng
ly in
su
ch d
ynam
ics.
T
her
e’s
this
art
cri
tic w
ho
was
act
ive
dur
ing
the
1950
s, ’6
0s a
nd
’70s
: Mar
io
Pedr
osa
. He
die
d in
198
1. H
e w
as a
ver
y im
po
rtan
t per
son
for
Bra
zilia
n ar
t. H
e w
as e
xtre
mel
y ac
tive
ag
ain
st fa
scis
m
and
wen
t to
Euro
pe
in th
e 19
30s
and
’4
0s. H
e m
ade
a ve
ry in
tere
stin
g an
d
fitt
ing
com
men
t ab
ou
t ho
w B
razi
l is
con
dem
ned
to b
e m
od
ern
. It’
s as
if
we
hav
e to
mak
e re
volu
tio
n o
ver
an
d o
ver
agai
n.
We
do
n’t
hav
e a
bac
kgro
und
bas
ed
on
trad
itio
n, s
o h
ori
zon
s ar
e o
pen
to
inve
ntio
n. T
his
mea
ns
you
can
alw
ays
try
to c
reat
e so
me
sort
of u
top
ia.
We
do
n’t
hav
e ce
ntr
es a
nd
mo
del
s;
ric
ard
o B
asb
aum
: Yo
u ca
n p
lay
wit
h
the
po
litic
al in
dif
fere
nt w
ays
and
no
t n
eces
sari
ly o
nly
as
an a
rtis
t. I
real
ly
do
n’t
kno
w w
hat
’s th
e m
ost
eff
ecti
ve
way
of p
layi
ng
wit
h p
olit
ics.
Is it
by
bei
ng
an a
rtis
t or
an a
nth
rop
olo
gis
t or
a ci
vilia
n? O
f co
urse
yo
u ca
n p
lay
wit
h
art i
n p
olit
ics
as w
ell.
I thi
nk
my
wo
rk
dea
ls w
ith
po
litic
s, b
ut I
’m s
om
etim
es
unco
mfo
rtab
le w
ith
the
fact
. Wh
en
you
go
into
the
po
litic
al a
ren
a it
’s v
ery
dif
ficu
lt to
re-
inve
nt y
our
self.
Th
e su
b-
ject
ivit
y o
f po
litic
s se
ems
to b
e al
read
y p
rep
ared
for
you
. It t
arg
ets
a re
ady-
mad
e p
erso
n, t
he
po
litic
al p
erso
n.
It’s
rea
lly d
iffi
cult
to in
ven
t dif
fere
nt
sub
ject
ivit
ies
in a
po
litic
al r
ole
.T
hat’s
why
I th
ink
it’s
tric
ky a
nd
dif
ficu
lt
to p
lay
wit
h p
olit
ics
– th
oug
h ob
vio
usl
y,
it’s
als
o ve
ry n
eces
sary
. Wh
en y
ou
do
so
wit
h ar
t yo
u re
ally
nee
d to
thin
k a
lot
abo
ut h
ow y
ou
pla
y. S
o I t
hin
k ar
tists
w
ho
pla
y w
ith
po
litic
s re
ally
nee
d to
i n
vent
a w
ay o
f pos
ition
ing
them
selv
es
in o
rder
to a
void
the
com
mon
plac
enes
s o
f th
e p
olit
ical
per
son
wh
o ha
s al
l so
rts
of s
ente
nce
s, a
ll so
rts
of r
ead
y-m
ade
answ
ers.
I’m
no
t sp
eaki
ng
abo
ut
con
ten
t, b
ut a
bo
ut h
ow th
ing
s ar
e d
ealt
w
ith
. May
be
bec
ause
of m
y B
razi
lian
h
erit
age,
art
can
’t av
oid
bei
ng
a fu
sion
o
f sen
sory
ele
men
ts. I
f yo
u tr
y to
avo
id
this
, an
d ju
st c
on
cen
trat
e o
n co
nte
nt
and
stat
emen
ts, y
ou
lose
a lo
t. T
hen
it
wo
uld
be
bet
ter
to c
ho
ose
an
oth
er
rou
te, n
ot a
rt.
Pm
/Hm
: So
met
imes
we
feel
that
the
maj
or
ho
pe
of t
he
twen
ty-fi
rst c
entu
ry
lies
in th
e p
ote
ntia
l of d
iffe
ren
t cul
ture
s to
inte
ract
in a
n un
dau
nte
dly
cre
ativ
e m
ann
er. T
his
is u
sual
ly li
nke
d to
the
idea
that
, bec
ause
of t
he
dif
fere
nce
s b
etw
een
cult
ures
, th
ey c
on
stan
tly
rein
ven
t th
emse
lves
to e
ng
age
wit
h
on
e an
oth
er m
ean
ing
fully
. Do
you
se
e an
y re
leva
nce
in s
uch
op
timis
tic
o
r u
top
ian
thin
kin
g?
Wo
uld
yo
u lik
e to
par
tici
pat
e in
an
arti
stic
exp
erie
nce
?R
icar
do
Bas
bau
m, d
iag
ram
, 199
4-2
007
Wo
uld
yo
u lik
e to
par
tici
pat
e in
an
arti
stic
exp
erie
nce
?W
ork
in p
rog
ress
sin
ce 1
994,
par
tici
pat
ion
Brí
gid
a B
alta
r,
Ver
ão V
erm
elh
o, 1
997
Wo
uld
yo
u lik
e to
par
tici
pat
e in
an
arti
stic
exp
erie
nce
?W
ork
in p
rog
ress
sin
ce 1
994,
par
tici
pat
ion
Cas
a d
as
Art
es d
a M
ang
uei
ra, R
io d
e Ja
nei
ro, 2
006
296
Par
alle
l Wo
rld
s In
terv
iew
297
we
can
alw
ays
still
pla
n w
hat
mig
ht
be
nex
t, b
ecau
se w
e ar
e n
ever
alr
ead
y so
met
hin
g.
Thi
s is
all
very
inte
rest
ing
, bu
t thi
s u
top
ian
elem
ent a
lso
scar
es m
e.
Th
ou
gh
I act
ual
ly b
elie
ve a
uto
pia
can
se
rve
a g
oo
d ro
le w
hen
yo
u’r
e st
uck
an
d ca
n’t
mov
e. F
or
then
a u
top
ia c
an
gen
erat
e m
ovem
ent.
Nev
erth
eles
s,
I thi
nk
tod
ay it
’s m
ore
imp
ort
ant t
o
be
som
ewh
at p
rag
mat
ic, t
o cu
ltiv
ate
cert
ain
kin
ds
of c
on
flict
s o
r n
ego
tiate
a
gre
at d
eal.
You
kno
w y
ou
pla
y a
do
ub
le r
ole
– s
om
etim
es in
sid
e an
d
som
etim
es o
uts
ide.
Bu
t it’
s n
eces
sary
to d
o b
oth
. I th
ink
it’s
mu
ch m
ore
im-
po
rtan
t to
lear
n h
ow
to p
lay
wit
h su
ch
mov
emen
t an
d n
ot b
e st
uck
just
in o
ne
pla
ce o
r, if
you
hav
e to
neg
otia
te w
ith
la
rger
po
wer
s, to
be
able
to e
scap
e so
meh
ow
, to
o. I
t’s
very
dif
ficu
lt to
p
lay
wit
h su
ch d
isp
lace
men
ts.
Pm
/Hm
: No
tion
s o
f pla
yful
nes
s an
d
rein
ven
tion
are
also
imp
ort
ant i
n yo
ur
lon
g-t
erm
pro
ject
: Wo
uld
yo
u lik
e to
p
artic
ipat
e in
an
artis
tic e
xper
ien
ce?
Aft
er s
ho
win
g at
the
do
cum
enta
12 in
K
asse
l, h
ow
is th
is p
roje
ct to
evo
lve
in
the
futu
re?
ric
ard
o B
asb
aum
: Thi
s p
roje
ct c
on
-si
sts
of a
n o
bje
ct th
at I
let p
eop
le u
se
as th
ey w
ish
for
a m
on
th. T
hey
can
d
o w
hat
ever
they
wan
t wit
h it
, all
they
h
ave
to d
o is
sen
d m
e so
me
kin
d o
f
do
cum
enta
tion
. Th
e p
roje
ct h
as b
een
g
oin
g o
n fo
r th
irte
en y
ears
(si
nce
199
4)
and
no
w it
’s e
nte
rin
g it
s th
ird
stag
e.
It ca
n vi
rtu
ally
go
on
fore
ver
– fo
r in
-st
ance
, fo
r th
e n
ext t
wo
hun
dre
d ye
ars
– b
ecau
se it
’s b
ased
on
a m
ech
anic
ally
p
rod
uce
d o
bje
ct.
I’m s
till l
earn
ing
fro
m th
e p
roje
ct,
bec
ause
eve
n th
ou
gh
it h
as b
een
go
ing
o
n fo
r 13
yea
rs, I
hav
en’t
wo
rked
on
it
pro
per
ly y
et. I
’ve
arch
ived
the
do
cu-
men
tatio
ns,
I h
ave
set u
p a
web
site
an
d n
ow
I’m
pre
par
ing
mys
elf f
or
this
n
ext s
tag
e.
At t
he
sam
e tim
e, m
y ex
per
ien
ces
wit
h it
are
very
co
mp
lex
in te
rms
of
no
tion
s o
f co
nce
ptu
al a
rt o
r th
eori
es
of c
on
tem
po
rary
art
; th
ou
gh
it ca
n
also
be
reg
ard
ed a
s ju
st a
ver
y d
irec
t,
pai
nte
d st
eel o
bje
ct. A
nd
a ve
ry u
sefu
l it
em: y
ou
can
use
it in
yo
ur k
itch
en,
your
toile
tte
or
to b
ath
e th
e b
aby.
So
it
has
bo
th th
e ro
le o
f bei
ng
use
-fu
l an
d o
f bei
ng
a co
nce
ptu
al p
iece
at
the
sam
e tim
e. T
ho
ug
h so
far
it
has
n’t
bee
n u
sed
to it
s fu
ll p
ote
ntia
l. W
hat
’s m
ore
, I w
oul
d lik
e to
tak
e th
e p
roje
ct to
dif
fere
nt c
ultu
res
and
pla
y w
ith
dif
fere
nt g
rou
ps.
So
met
imes
an
ar
tist
is o
nly
ab
le to
pla
y w
ith
the
art
wo
rld
. H
ow
ever
, I w
oul
d al
so li
ke to
g
ain
acce
ss to
oth
er w
orl
ds
I hav
en’t
re
ach
ed y
et.
Horiz
ons
rio
de
Jan
eiro
dia
gra
m (
me-
you
seri
es)
Ric
ard
o B
asb
aum
, co
mm
issi
on
ed b
y th
e m
use
um
in
pro
gre
ss, V
ien
na,
fo
r th
e u
rban
ten
sio
n p
roje
ct, 2
002
dia
gra
m (
me-
you
seri
es)
Ric
ard
o B
asb
aum
, 200
0o
bs.
+ s
yste
m c
inem
a +
sup
erp
ron
ou
nIn
stal
lati
on
view
at C
AA
M, L
as P
alm
as, 2
005
Un
iver
sid
ade
do
Est
ado
do
Rio
de
Jan
eiro
(U
ER
J), 2
005
298
299
Fran
cisc
o d
e C
astr
o-S
anta
Ter
esa
On
e o
f th
e 50
0 fa
vela
s in
th
e B
razi
lian
met
rop
olis
o
f Rio
de
Jan
eiro
, 200
5
300
301
Ru
a D
ez, e
leva
ted
stre
et b
uilt
on
top
of t
he
Fave
la P
arq
ue
da
Can
del
ária
n
ear
the
cam
pu
s o
f Un
iver
sitá
rio
Fran
cisc
o N
egrã
o d
e Li
ma,
200
5
Cid
ade
Un
iver
sitá
ria
Un
fin
ish
ed b
uild
ing
of t
he
un
iver
sity
h
osp
ital
, Rio
de
Jan
eiro
, 200
5
Cat
edra
l Met
rop
olit
ana
do
Rio
de
Jan
eiro
, 200
5 D
esig
ned
by
Ed
gar
de
Oliv
eira
da
Fon
seca
, in
aug
ura
ted
in 1
979
Un
iver
sid
ade
do
Est
ado
do
Rio
de
Jan
eiro
(U
ER
J), 2
005
302
303
Un
iver
sid
ade
do
Est
ado
do
Rio
de
Jan
eiro
(U
ER
J), 2
005
Pav
ilhão
Rei
tor
João
Lyr
a Fi
lho
, lo
cate
d o
n th
e ca
mp
us
of U
niv
ersi
tári
o
Fran
cisc
o N
egrã
o d
e Li
ma,
des
ign
ed b
y Fl
ávio
Mar
inh
o R
ego
and
Luiz
P
aulo
Co
nd
e, in
aug
ura
ted
in 1
976
304
305
Un
iver
sid
ade
do
Est
ado
do
Rio
de
Jan
eiro
(U
ER
J), 2
005