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    <title type="text">Culture Making items tagged cities</title>
    <subtitle type="text">Culture Making:Main column content</subtitle>
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    <link rel="self" type="application/atom+xml" href="http://www.culture-making.com/tag/atom/" />
    <updated>2010-09-08T11:05:17Z</updated>
    <rights>Copyright (c) 2010, Nate Barksdale</rights>
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    <id>tag:culture-making.com,2010:09:07</id>


    <entry>
      <title>Cities, wandering, serendipity and (wait for it) zombies</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/cities_wandering_serendipity_and_wait_for_it_zombies/" />
      <id>tag:culture-making.com,2010:author/9.1952</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Nate: </b><em>“Cell phones and GPS can easily take the thinking out of urban navigation, obscuring the reality of making our way on our own with the reality of screen and algorithm. Of course we can, in more playful mode, use augmented reality—as with the video game described below—to get ourselves out of our urban ruts. I wonder if a more philosophical GPS system would have, next to the button that says "Take me home", one that says "Get me lost."”</em><br />		
		<p>I’m very weary of the hipster obsession with zombies by now. Cut it out, hipsters. So I felt shame the other night as my friend and I sprinted through the dark along treacherously uneven brick sidewalks, running from zombies and loving it.</p><p>Not real zombies, or even hipsters—we were responding to an awesome app for Android phones called Zombie, Run! It’s a location-based game of sorts that places a bunch of zombies between you and your destination on the map. When you’re near enough to a zombie, it begins to give chase. You must reach your destination without a zombie catching you and eating your brains. It’s lots of fun and can make mundane trips much more interesting, especially if you enjoy running around like a maniac in public.</p><p>But a game like this is also fascinating when you set down your can of High Life and put on your Geographer hat. It directs a kind of spatial behavior that technology more often stamps out in one way or another—wandering. While our gizmos usually tell us exactly where something is and how to get there, here is something that forces a person to stray from the direct path. Assuming the player keeps his eyes open and actually notices the world around him, the game provides an interesting way of experiencing and understanding urban spaces. By acting upon virtual landscape in the physical landscape, the player travels unpredicted paths and enters areas that might otherwise never have been seen.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.cartogrammar.com/blog/zombie-psychogeography/">Zombie psychogeography</a>" by Andy Woodruff, <a href="http://www.cartogrammar.com/blog/zombie-psychogeography/">Cartogrammar</a>, 23 August 2010</div>		

	
			
			
			
		
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    <entry>
      <title>The bottom of the urban planning bag</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/the_bottom_of_the_urban_planning_bag/" />
      <id>tag:culture-making.com,2010:author/9.1909</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Nate: </b><em>“These maps compare the possible routes of a one-kilometer walk in two neighborhoods in the Seattle area: the heavily cul-de-sac'd <a href="http://maps.google.com/maps?f=q&source=s_q&hl=en&geocode=&q=woodinville+seattle&sll=45.530145,-122.811566&sspn=0.011935,0.018797&ie=UTF8&hq=&hnear=Woodinville,+King,+Washington&ll=47.775271,-122.178397&spn=0,0.053945&t=h&z=15&layer=c&cbll=47.759964,-122.167316&panoid=2aMkF9v9a9KJSYbAXr7WUw&cbp=12,267.46,,0,1.32">Woodinville</a> and the gridded <a href="http://maps.google.com/maps?f=q&source=s_q&hl=en&geocode=&q=ballard+seattle&sll=47.759964,-122.167316&sspn=0.023022,0.053945&ie=UTF8&hq=&hnear=Seattle&ll=47.684777,-122.392116&spn=0,0.053945&t=h&z=15&layer=c&cbll=47.675104,-122.37888&panoid=XUNO3CkYJ-NBoAkQcim2GQ&cbp=12,168.27,,0,12.71">Ballard</a> neighborhood. Cul-de-sacs (or, if we're sticklers for French grammar in our loan-words, <a href="http://en.wikipedia.org/wiki/Cul-de-sac">culs-de-sac</a>, or if we're actual French, <a href="http://fr.wikipedia.org/wiki/Impasse">les impasses</a>) are designed, in part, to free residential suburbs from the noises and hazards of automobiles, with the side effect of making it nearly impossible to go anywhere without a car. I suppose a secondary effect of the culs was to mask the depersonalizing qualities of vast suburbs of near-identical houses all built over the course of a few months—again, at the depersonalizing cost of making coming and going by foot, bicycle, or public transit much more difficult. In an added layer of irony, the map on the right looks far more organic, almost lung-like, but (our shifting urban values tell us) the mathematical abstraction on the right is the one more suited to healthy city life.”</em><br />		
		<a href="http://hbr.org/2010/05/back-to-the-city/sb1"><img src="http://culture-making.com/media/F1005B_A_lg.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1">from "<a href="http://hbr.org/2010/05/back-to-the-city/sb1">The Unintended Consequences of Cul-de-sacs</a>," by Ania Wieckowski, <a href="http://hbr.org/2010/05/back-to-the-city/sb1"><i>Harvard Business Review</i></a>, May 2010 :: via <a href="http://www.infrastructurist.com/2010/05/07/how-cul-de-sacs-are-killing-your-community/">The Infrasructuralist</a></div>		

	
			
			
			
		
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    <entry>
      <title>Street photography by Matt Stuart</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/street_photography_by_matt_stuart/" />
      <id>tag:culture-making.com,2010:author/9.1896</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Nate: </b><em>“I love Matt Stewart's mannered, witty, sometimes downright cheeky street photos—the <a href="http://www.mattstuart.com/Photographs/Black-White">black & white</a> and <a href="http://www.mattstuart.com/Photographs/Colour">colour</a> sections of his site are worth full perusal. The photos are all about finding echoed gestures and surprising, double-take juxtapositions. Sometimes it can feel like a one-trick project, but the one trick always leaves me smiling.”</em><br />		
		<a href="http://www.mattstuart.com/"><img src="http://culture-making.com/media/12.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">"<a href="http://www.mattstuart.com/">Soho</a>," by <a href="http://www.mattstuart.com/">Matt Stuart</a>, 2010 :: via <a href="http://moreintelligentlife.com/blog/melissa-goldstein/qa-matt-stuart-street-photographer?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+MoreintelligentlifeTotal+%28moreintelligentlife.com+-+total%29&utm_content=Google+Reader">More Intelligent Life</a></div>		

	
			
			
			
		
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    <entry>
      <title>Dancers Among Us, by Jordan Matter</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/dancers_among_us_by_jordan_matter/" />
      <id>tag:culture-making.com,2010:author/9.1895</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Nate: </b><em>“Artist's description: "Dancers Among Us is a collection of NYC dance photographs featuring members of the Paul Taylor and Martha Graham Dance Companies. This is an ongoing project that began in the spring of 2009. There were no trampolines or other devices used for these images." The entire series is lots of fun, but I love the interplay of artistic exchange—gifts offered, gifts received—in this one.”</em><br />		
		<a href="http://www.jordanmatter.com/photography/dance-photography/dancers-among-us.php#dance_couple_bw.jpg"><img src="http://culture-making.com/media/dance_couple_bw.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">"<a href="http://www.jordanmatter.com/photography/dance-photography/dancers-among-us.php#dance_couple_bw.jpg">Jamie Rae Walker and Annmaria Mazzini</a>," photo by Jordan Matter, from the series <a href="http://www.jordanmatter.com/photography/dance-photography/dancers-among-us.php#dance_couple_bw.jpg">Dancers Among Us</a>, 2009–ongoing :: via <a href="http://kottke.org/10/04/dancers-among-us">kottke.org</a></div>		

	
			
			
			
		
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    </entry>

    <entry>
      <title>Sana’a sunset: a panoramic view of Yemen’s capital city</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/sanaa_sunset_a_panoramic_view_of_yemens_capital_city/" />
      <id>tag:culture-making.com,2010:author/9.1776</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

			<p align="center"><object classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=9,0,28,0" id="_360_krpano_id_958200" name="_360_krpano_name_958200" width="425" height="315"><param name="movie" value="http://www.360cities.net/javascripts/krpano/krpano.swf"/><param name="quality" value="autohigh"/><param name="allowScriptAccess" value="always"/><param name="flashvars" value="pano=http://www.360cities.net/krpano/external_embed/sanaa-sunset.xml&epd=http://www.360cities.net/data/embed/plugin_data/sanaa-sunset"/><param name="allowFullScreen" value="true"/><embed src="http://www.360cities.net/javascripts/krpano/krpano.swf" pluginspage="http://www.macromedia.com/go/getflashplayer" width="425" height="315" allowFullScreen="true" allowScriptAccess="always" quality="autohigh" flashvars="pano=http://www.360cities.net/krpano/external_embed/sanaa-sunset.xml&epd=http://www.360cities.net/data/embed/plugin_data/sanaa-sunset"></embed></object></p><br />
<b>Nate: </b><em>“An amazing interactive view of Yemen's capital, a city that has been continuously inhabited for more tha 2500 years. I love the infinite variablity of the vernacular style, the contrast of all those arches and windows and carved gypsum fanlights on facade after facade. Though they look quite contemporary, many of the flat-roofed multistory buildings in the old city are hundreds of years old. For much much more, see this lovely free-to-download book, <a href="">The old walled city of San'a'</a>.”</em><br /><hr />
<span style="font-size: -1">"<a href="http://www.360cities.net/image/sanaa-sunset">Sana'a: View from a rooftop at sunset panorama in Yemen</a>," panoramic photo by Stefan Geens, <a href="http://www.360cities.net/image/sanaa-sunset">360 Cities</a>, 2 May 2009 :: via <a href="http://www.good.is/post/incredible-interactive-panorama-of-sana-a-rooftops-at-sunset">GOOD Blog</a></span>

	
			
			
			
		
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    <entry>
      <title>A tale of two cities</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/a_tale_of_two_cities/" />
      <id>tag:culture-making.com,2010:author/9.1756</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

			<p><object width="420" height="340"><param name="movie" value="http://www.youtube.com/v/ZrDxe9gK8Gk&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ZrDxe9gK8Gk&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="420" height="340"></embed></object></p><br />
<b>Andy: </b><em>“For some reason, this year I have been especially seeking out Advent moments—books, films, and music that capture longing, incompleteness, and hope. This short film, shot on a cell phone in New York and Sydney, fits beautifully.”</em><br /><hr /><span style="font-size: -1">"<a href="http://www.youtube.com/watch?v=ZrDxe9gK8Gk">Mankind Is No Island"</a> by Jason van Genderen, 29 September 2008 :: via Richard Law, 7th grade English teacher at Strath Haven Middle School (not the last time my son will introduce me to significant cultural works!)</span>

	
			
			
			
		
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    <entry>
      <title>What is social justice?</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/what_is_social_justice/" />
      <id>tag:culture-making.com,2010:author/9.1735</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Andy: </b><em>“This is an intriguing historical treatment of the phrase "social justice," which Michael Novak (here writing in deliberately non-partisan mode) traces to the shift from agrarian serfdom to urbanized democracy. We need more careful work on overused words like these (and in the coming days, you can read Novak's take on two others, "the common good" and "personal liberty").”</em><br />		
		<p>The scholar Friedrich Hayek finds that the first writer to use the term ["social justice"] was an Italian priest, Taparelli D’Azeglio, in his book <i>Natural Rights from a Historical Standpoint</i> (1883). It is in this book that Leo XIII (1878–1903) first encountered the term. The context was one of the most enormous social transformations in human history: the end of the agrarian age that had begun before the time of Christ, and the fairly abrupt entry into an age of invention, investment, urban growth, manufacturing, and services. No longer did families have an inherited roof over their heads and daily food from their own land. Now they were uprooted and dwelling in cities, dependent for shelter and food on the availability of jobs and their own initiative. Traditional social networks were cut to shreds, and the associations of a lifetime were torn asunder. . . .</p><p>I know from the experience of my own family over four generations how stressful the great transformation of society has been. Most of the gospel texts are cast in agricultural metaphors—seeds, harvests, grains, sheep, land, fruit trees—and so resonate with the economic order of most of human history until the nineteenth or twentieth century. My family served as serfs on the large estate of the Hungarian Count Czaky, whose own ancestor was a hero in the turning back of the Turks near Budapest in 1456. My relatives were subjects of the Austro-Hungarian Empire and, as near as I can determine, were not able to own their own land until the 1920s. Men, women, and children on the estate were counted annually, along with cattle, sheep, goats, and other livestock, for purposes of taxation.</p><p>My ancestors were taught to accept their lot. Their moral duties were fairly simple: Pray, pay, and obey. What they did and gained was pretty much determined from above. Beginning in about 1880, however, because farms no longer could sustain the growth in population, almost two million people from eastern Slovakia—one by one, along chains of connection with families and fellow villagers—began to migrate to America and elsewhere. Usually the sons left first and sent back later for wives. This was one of the greatest—and most unusual—mass migrations in history, with people migrating, not as whole tribes, but as individuals.</p><p>In America my grandparents were no longer subjects, but citizens. If their social arrangements were not right, they now had a duty (and a human necessity) to organize to change them. They were free, but they also were saddled with personal responsibility for their own future. They needed to learn new virtues, to form new institutions, and to take their own responsibility for the institutions they inherited from America’s founding geniuses.</p><p>In this context the term <i>social justice</i> can be defined with rather considerable precision. Social justice names a new virtue in the panoply of historical virtues: a set of new habits and abilities that need to be learned, perfected, and passed on—new virtues with very powerful social consequences.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.firstthings.com/onthesquare/2009/12/three-precisions58-social-justice">Three Precisions: Social Justice</a>," by Michael Novak, <a href="http://www.firstthings.com/onthesquare/">First Things</a>, 1 December 2009</div>		

	
			
			
			
		
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    <entry>
      <title>The generative richness of ruins</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/the_generative_richness_of_ruins/" />
      <id>tag:culture-making.com,2010:author/9.1732</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Nate: </b><em>“This comes from a quietly amazing book of photographs of San Francisco in the aftermath of the 1906 earthquake and fire placed next to images of the same areas today. The destruction enacted by the century-old calamities represents, of course, only a small fraction of the total destructions and creations documented in the photographs, and in Rebecca Solnit's accompanying essay.”</em><br />		
		<p>In another sense, everything is the ruin of what came before. A table is the ruin of a tree, as is the paper you hold in your hands; a carved figure is the ruin of the block from which it emerged, a block whose removal scarred the mountainside from which it was hacked; and anything made of metal requires earth upheaval and ore extraction on a scale of extraordinary disproportion to the resultant product. To imagine the metamorphoses that are life on earth at is grandest scale is to imagine both creation and destruction, and to imagine them together is to see their kinship in the common ground of change, abrupt and gradual, beautiful and disastrous, to see the generative richness of ruins and the ruinous nature of all change. "The child is the father to the man," declared Wordsworth, but the man is also the ruin of the child, as much as the butterfly is the ruin of the caterpillar. Corpses feed flowers; flowers eat corpses. San Francisco has been ruined again and again, only most spectacularly in 1906, and those ruins too have been erased and forgotten and repeated and erased again.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.amazon.com/After-Ruins-1906-2006-Rephotographing/dp/0520245563/cmcom-20">The Ruins of Memory</a>," by Rebecca Solnit, in <a href="http://www.amazon.com/After-Ruins-1906-2006-Rephotographing/dp/0520245563/cmcom-20"><i>After the Ruins, 1906 and 2006: Rephotographing the San Francisco Earthquake and Fire</i></a>, by Mark Klett with Michael Lundgren, 2006</div>		

	
			
			
			
		
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    <entry>
      <title>Type the Sky, by Lisa Rienermann</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/type_the_sky_by_lisa_rienermann/" />
      <id>tag:culture-making.com,2010:author/9.1724</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Nate: </b><em>“This lovely photographic alphabet—which incidentally wonderfully captures the urban inner-space of building courtyards—won a deserved prize from the Type Designers Club of New York City.”</em><br />		
		<a href="http://www.lisarienermann.com/index.php?/project/type-the-sky/"><img src="http://culture-making.com/media/3_alphabet.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.lisarienermann.com/index.php?/project/type-the-sky/">type the sky</a>," photographs by Lisa Rienermann, 2007 :: via <a href="http://reubenmiller.typepad.com/my_weblog/2008/09/21-unexpected-a.html">ReubenMiller</a></div>		

	
			
			
			
		
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    <entry>
      <title>Tell it slant</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/tell_it_slant/" />
      <id>tag:culture-making.com,2010:author/9.1666</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Andy: </b><em>“Beautiful Angle is a "guerilla arts" poster project in Tacoma, Washington. (So saith the project's <a href="http://en.wikipedia.org/wiki/Beautiful_Angle">Wikipedia entry</a>.) They create striking combinations of images and texts, usually with words that are surprisingly and disarmingly sincere. Many of their posters are intentionally local, playing off of Tacoma's somewhat mixed reputation and yet always coming down on the side of love for the place—posters that couldn't have been made anywhere else. Terrific stuff.”</em><br />		
		<a href="http://beautifulangle.homestead.com/"><img src="http://www.culture-making.com/media/gospel_tacoma.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1">from "<a href="http://beautifulangle.homestead.com/gospel.html">The Gospel According to Tacoma, June 2007</a>," <a href="http://beautifulangle.homestead.com/">Beautiful Angle</a></div>		

	
			
			
			
		
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    <entry>
      <title>South Bronx, 1979: An urban narrative of hope</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/south_bronx_1979_an_urban_narrative_of_hope/" />
      <id>tag:culture-making.com,2010:author/9.1591</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Christy: </b><em>“Photographer David Gonzalez <a href="http://www.nytimes.com/2009/08/23/nyregion/23bronx.html?pagewanted=3&_r=1">writes</a>, "Thirty years ago this summer, I returned to the South Bronx, where I grew up, with a Yale diploma in one hand and a beat-up Pentax camera in the other. Raised to get a good education, become a doctor and escape, I had instead come right back to teach photography — on Charlotte Street, no less, the world’s most famous slum." His <i>New York Times</i> essay and multimedia slideshows revisit the images and memories from his work from 1979, and open a window into the legendary South Bronx, presenting what my friend (and IAM Board president) Mark Meehan calls "an urban narrative of hope."”</em><br />		
		<a href="http:"><img src="http://culture-making.com/media/23rubble_600.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">"<a href="http://www.nytimes.com/2009/08/23/nyregion/23bronx.html?pagewanted=1&_r=2">Boston Road near Charlotte Street</a>" (1979) from <a href="http://www.nytimes.com/2009/08/23/nyregion/23bronx.html?pagewanted=1&_r=2">Faces in the Rubble</a>" by David Gonzalez, <http://www.nytimes.com/2009/08/23/nyregion/23bronx.html?pagewanted=1&_r=2"><i>The New York Times</i></a>, 21 August 2009</div>		

	
			
			
			
		
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    <entry>
      <title>Parking is such sweet sorrow</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/parking_is_such_sweet_sorrow/" />
      <id>tag:culture-making.com,2010:author/9.1546</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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					<b>Nate: </b><em>“Fascinating example of infrastructure mandating (and at the same time limiting) the culture of a particular place, from the journal of the University of California's Transportation Center. Includes this quote from urban historian Lewis Mumford: "The right to access every building in the city by private motorcar, in an age where everyone owns such a vehicle, is actually the right to destroy the city."”</em><br />		
		<p>Disney Hall’s six-level, 2,188-space underground garage cost $110 million to build (about $50,000 per space). Financially troubled Los Angeles County, which built the garage, went into debt to ﬁnance it, expecting that parking revenues would repay the borrowed money. But the garage was completed in 1996, and Disney Hall—which suffered from a budget less grand than its vision—became knotted in delays and didn’t  open until late 2003. During the seven years in between, parking revenue fell far short of debt payments (few people park in an underground structure if there is nothing above it) and the county, by that point nearly bankrupt, had to subsidize the garage even as it laid off employees.</p><p>The county owns the land beneath Disney Hall, and its lease for the site specifies that Disney Hall must schedule at least 128 concerts each winter season. Why 128? That’s the minimum number of concerts that will generate the parking revenue necessary to pay the debt service on the garage. And in its ﬁrst year, Disney Hall scheduled exactly 128 concerts. The parking garage, ostensibly designed to serve the Philharmonic, now has the Philharmonic serving it; the minimum parking requirements have led to a minimum concert requirement.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.uctc.net/access/25/Access 25 - 02 - People, Parking, and Cities.pdf">People, Parking, and Cities</a>," by Michael Manville and Donald Shoup, <a href="http://www.uctc.net/access/access25.shtml"><i>Access</i></a>, Fall 2004 :: via <a href="http://delicious.com/amaah">Koranteng's bookmarks</a></div>		

	
			
			
			
		
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    </entry>

    <entry>
      <title>Old cities, still kicking</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/old_cities_still_kicking/" />
      <id>tag:culture-making.com,2010:author/9.1542</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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			<b>Nate: </b><em>“The linked post's writeup is a bit too breezy to withstand a lot of scrutiny, alas. For instance, I'd guess that Varanasi can see a million tourists on a single festival weekend, not just annually. <a href="http://en.wikipedia.org/wiki/List_of_cities_by_time_of_continuous_habitation">This Wikipedia page</a> has a longer and more credible list.”</em><br />
<div class="author" style="font-size: -1">a <a href="http://www.kottke.org/09/07/old-cities-still-kicking">kottke.org</a> post, 22 July 2009</div><hr />		
		<p><a href="http://weburbanist.com/2009/07/09/senior-city-zens-the-10-oldest-still-inhabited-cities/">The 10 oldest cities which are still inhabited</a>. Includes a few you've probably heard of (Damascus, Jericho, Jerusalem) and a couple of surprises.</p>
		

	
			
			
			
		
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    <entry>
      <title>In Queens, we have grandparents</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/in_queens_we_have_grandparents/" />
      <id>tag:culture-making.com,2010:author/9.1442</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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					<b>Andy: </b><em>“My admiration for and interest in the work of urbanologist Joel Kotkin only increased when I heard and met him at Q last month. Among the many valuable contrarian arguments he makes, the most important is his contention that far from seeing a resurgence, major cities like New York in fact are becoming so gentrified that they are enclaves of the upper class (and, especially in New York's case, of absentee international cosmopolitans). Truly sustainable cities are, he suggests, a function of real neighborhoods.”</em><br />		
		<p>New York and other top cities—including Chicago, Los Angeles, San Francisco, and Boston—have been suffering the largest net out-migration of residents of virtually all places in the country, albeit the pattern has slowed with the recession.</p><p>It’s astonishing that, even with the many improvements over the past decade in New York, for example, more residents left its five boroughs for other locales in 2006 than in 1993, when the city was in demonstrably far worse shape. In 2006, the city had a net loss of 153,828 residents through domestic out-migration, compared to a decline of 141,047 in 1993, with every borough except Brooklyn experiencing a higher number of out-migrants in 2006.</p><p>Since the 1990s virtually all the gains made in the New York economy have accrued to the highest income earners. Overall, New York has the smallest share of middle-income families in the nation, according to a recent Brookings Institution study; its proportion of middle-income neighborhoods was smaller than any metropolitan area, except for Los Angeles. . . .</p><p>[M]iddle-class sensibilities get short shrift by urban scholars such as Richard Florida, who argue that in the so-called “creative age” places of residence should be “leased” like cars. In his mind, single-family homes, the ideal of homeownership, should be replaced “by a new kind of housing” that embraces higher forms of density without long-term commitment to a particular residence or location.</p><p>In fact, the sustainable city of the future will depend precisely on commitment and long-term residents. It also will rest on the revival of traditional institutions that have faded in many of today’s cities. Churches—albeit often in reinvented form—help maintain and nurture such communities. Similarly, extended family networks will be critical to future successful urban areas. As Queens resident and real estate agent Judy Markowitz puts it, “In Manhattan people with kids have nannies. In Queens, we have grandparents.”</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.american.com/archive/2009/may-2009/the-luxury-city-vs-the-middle-class/">The Luxury City vs. the Middle Class</a>," by Joel Kotkin, <a href="http://www.american.com/">The American, A Magazine of Ideas</a>, 13 May 2009</div>		

	
			
			
			
		
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    <entry>
      <title>Playing for Change: Global street musicians cover “Stand By Me”</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/playing_for_change_global_street_musicians_cover_stand_by_me/" />
      <id>tag:culture-making.com,2010:author/9.1408</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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			<p align="center"><object width="420" height="340"><param name="movie" value="http://www.youtube.com/v/Us-TVg40ExM&color1=0xb1b1b1&color2=0xcfcfcf&hl=en&feature=player_embedded&fs=1"></param><param name="allowFullScreen" value="true"></param><embed src="http://www.youtube.com/v/Us-TVg40ExM&color1=0xb1b1b1&color2=0xcfcfcf&hl=en&feature=player_embedded&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" width="420" height="340"></embed></object></p><br />
<b>Nate: </b><em>“From a documentary film that features a whole series of similar global collaborations. A bit like a more musician-collaborative version of Kutiman's brilliant <a href="http://thru-you.com/#/videos/1/">ThruYOU</a> YouTube mash-ups. In both cases, if you listen with your eyes shut you're liable to think "too many instruments!!", but in video form, it's pure multitude-containing jump cut musical joy.”</em><br /><hr /><span style="font-size: -1">song from <i><a href="http://playingforchange.com/pop2.html">Playing for Change</a></i>, directed by Jonathan Walls and Whitney Burditt :: via <a href="http://www.boingboing.net/2009/04/22/musicians-around-the.html">Boing Boing</a></span>

	
			
			
			
		
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    <entry>
      <title>Case Study Home, by Peter Bialobrzeski</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/case_study_home_by_peter_bialobrzeski/" />
      <id>tag:culture-making.com,2010:author/9.1406</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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					<b>Nate: </b><em>“From a series of photographs of houses in the Baseco compound, a squatter camp at the <a href="http://maps.google.com/maps?f=q&source=s_q&hl=en&geocode=&q=manila&sll=45.53015,-122.811567&sspn=0.010432,0.022037&ie=UTF8&ll=14.594797,120.958453&spn=0.007206,0.011019&t=h&z=17&iwloc=A">mouth of the Pasig River</a> near Manila's port. The "Case Study" title is an allusion to the seminal midcentury California modern homes designed by Richard Neutra, Charles and Ray Eames, and others. In this case, the architects and builders remain anonymous, and the materials are largely whatever useful that could be found. I like this one because of its particular Philippine vernacular flair—traditional architecture showing through in a rough environment.”</em><br />		
		<a href="http://lagallery-frankfurt.de/bialobrzeski9.html"><img src="http://culture-making.com/media/0002.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">image from <i><a href="http://lagallery-frankfurt.de/bialobrzeski9.html">Case study homes, 2008</a></i>, by Peter Bialobrzeski, <a href="http://lagallery-frankfurt.de/bialobrzeski9.html">L.A. Galerie</a>, Frankfurt, Germany, 27 March–23 May 2009 :: via <a href="http://www.boingboing.net/2009/04/05/shanty-houses-of-man.html">Boing Boing</a></div>		

	
			
			
			
		
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    <entry>
      <title>Urban prairies</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/urban_prairies/" />
      <id>tag:culture-making.com,2010:author/9.1401</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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					<b>Andy: </b><em>“Photographer James D. Griffioen has created a haunting series of photographs of Detroit neighborhoods that are reverting to nature . . . cultivation in reverse.”</em><br />		
		<a href="http://www.jamesgriffioen.net/index.php?/prairies/lost-neighborhoods/"><img src="http://www.culture-making.com/media/lostneighborhoods_420.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.jamesgriffioen.net/index.php?/prairies/lost-neighborhoods/">lost neighborhoods</a>," <a href="http://www.jamesgriffioen.net/">James D. Griffioen</a> :: via <a href="http://ayjay.tumblr.com/">more than 95 theses</a></div>		

	
			
			
			
		
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    </entry>

    <entry>
      <title>Little lost robot</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/little_lost_robot/" />
      <id>tag:culture-making.com,2010:author/9.1398</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

			<p align="center"><embed src="http://blip.tv/play/Aei_e5OoUw" type="application/x-shockwave-flash" width="420" height="343" allowscriptaccess="always" allowfullscreen="true"></embed></p><br />
<b>Andy: </b><em>“A simple experiment in urban sociability. Will anyone in Manhattan stop to help a lost robot find his way? The answer, it turns out, is a resounding yes. Artist Kacie Kinzer has repeated the experiment in numerous places with consistently positive results. Would it work as well, though, if the robot wasn't "cute"?”</em><br /><hr /><span style="font-size: -1">from "<a href="http://www.tweenbots.com/">tweenbots</a>," by kacie kinzer :: via <a href="http://delicious.com/charliepark">Charlie Park</a></span>

	
			
			
			
		
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    <entry>
      <title>Turnover</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/turnover/" />
      <id>tag:culture-making.com,2010:author/9.1329</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Andy: </b><em>“Insightful observation by Collin Hansen, at the end of an excellent commentary on Richard Florida's <a href="http://www.theatlantic.com/doc/200903/meltdown-geography"><i>Atlantic</i> piece on the geography of the economic slump.</a> (Emphasis added.)”</em><br />		
		<p>Economic vitality may rely on a fast-paced lifestyle of risk and reward. But the creative class of one generation gives way to the next when they burn out and seek refuge in the suburbs. Just ask city pastors. This is the problem they struggle to solve. <b>Turnover gives urban churches wide national influence. Ironically, it also undermines local community.</b> So the very bonds of fellowship that attract young people to urban churches in the first place eventually dissolve when members lose their resolve to stay in the city.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://blog.christianitytoday.com/outofur/archives/2009/03/the_hansen_repo_2.html">The Hansen Report: Suburban Church Slump?</a>," by Collin Hansen, <a href="http://blog.christianitytoday.com/outofur/">Out of Ur | Conversations for Ministry Leaders</a>, 6 March 2009</div>		

	
			
			
			
		
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    <entry>
      <title>The bridge to somewhere</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/the_bridge_to_somewhere/" />
      <id>tag:culture-making.com,2010:author/9.1245</id>
      <published>2010-09-07T14:38:16Z</published>
      <updated>2010-09-08T11:05:17Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

      <content type="html"><![CDATA[
        
						
			

					<b>Andy: </b><em>“The Danish photographer Simon Høgsberg photographed pedestrians on a bridge in Berlin for 20 days. The result is a beautiful and haunting encounter with human beings in unguarded moments, in a kind of limbo between here and there. Well worth contemplation.”</em><br />		
		<a href="http://www.simonhoegsberg.com/we_are_all_gonna_die/slider.html"><img src="http://www.culture-making.com/media/gonnadie_420.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.simonhoegsberg.com/">We're All Gonna Die — 100 meters of existence"</a>," by <a href="http://www.simonhoegsberg.com/">Simon Høgsberg</a></div>		

	
			
			
			
		
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