Week 12 2017

After several disruptive weeks – pushing child friendly cities and play in media and at events I am back on the PhD research.

The feedback form the Assessor was to use Stevens work as a basis rather than Lefebvre. This led to an revised PhD proposal and contemplation about new research questions.

Project Proposal can be accessed here: PhD Proposal 23 March2017

Maciocco, G. & Tagliagambe, S. (2009). People and Space, New Forms of Interaction in the City Project. Urban and Landscape Perspectives 5; Springer. doi 10.1007/978-1-4020-9879-6_1

The City Project: intermediate Space and Symbol (p.164)

“The loss of the differential quality the city has suffered in its drift towards the “generic city”, a phenomenon of reduction of diversity, standardisation of life and the space produced by shopping, which has become “a primary way of urban life”, “the apotheosis of modernisation” (Chung 2001), the foolish outlet of the doctrine of form (of the city) that follows the (consumer) function in the same way throughout the world, the “unexpected revenge of functionalism” (Chung, 2001).

Chung C. J., Inaba J., Koolhaas R., Tsung Leong S. (2001) Harvard Design School Guide to Shopping, Taschen, Cologne.

Linked to the “generic city” is the process of “thematisation” of the city, the transformation of the city as a theme-park, an experience of places that is also the model of the place of pleasure (Jacobs 1998), a model that requires a glance turning everything into a show, that tends to blend in with its surroundings (Caillois, 1984) and that produces an absence of reference point, like the space of a labyrinth, spectacular and supervised, making the contemporary city uniform (Bataille 1970). But it is a desired labyrinth, that represents a complete mosaic of different types of landscape that make up, indeed, the “dark object of desire” of society (Vos and Meekes 1999).

Bataille G. (1970). Le labyrinthe. In: Bataille G. (ed) Oeuvres complètes, Gallimard, Paris. Caillois R. (1984). Mimicry and legendary. Psychastenia, October n 31.
Vos W., Meekes H. (1999) Trends in European cultural landscape development: perspectives for a sustainable future. Landscape and Urban Planning 46 (1-3).

The representations, images, our society creates for itself of landscapes as “desired products” express detachment from reality. In this detachment between reality and representation lies the contemporary incapacity to “represent” the city , to “see it”. What is projected in images aberrant to the point of losing their reference point is nothing more, probably, than the loss of the reference point as such, a loss affecting language, the same loss that affects the inhabitant when he tries to imagine the city (Soutif, 1994). If we do not go to meet the real, in the lived in space, unsettling pairs of opposites like real city/simulacrum city and citizen/non- citizen (de Azua 2003) will become established, where the figure of the “non-citizen” will correspond to the loss of the urban collective conscience and, with it, the loss of the city as a conceptual unit.

Soutif D. (1994) Topes et Tropes Le plan de Ville et la Référence. In: Dethier J., Guiheux A. (eds) La ville Art et architecture en Europe 1870- 1993, Centre Georges Pompidou, Paris.

de Azua F. (2003) La necessidad y el deseo. Sileno nn. 14-15, pp. 13-21

“The space of the mind that gradually develops as the subject understands, in his acting and often after he has acted, the sense of this actions and those of others and that, in this sense, opens up to the world of relations that feeds the collective conscience.” (p.165)

–> Is the post capitalist city a place where symbols are exchanged? “The expressive strength of the symbol is essential for collective gaining of awareness of the elements that preside over our spatial life. ” (p.165)

The symbol represents,  always, “something else”, it refers to something different and never uncodifiable. (p.166)

“A symbol can be understood as a “bridge cast” between the universe of visible phenomena and the invisible, between reality and possible worlds.” (p. 167) –> play is a possibility and create opportunities for reaching out to a different world!

“The active, collective glance at the city makes us feel we belong to a whole, it reveals to us the contemporary public space.” p.13

Brodsky J. (1995) On Grief and Reason: Essays, Farrar straus Giroux, New York.

“The more substantial an individual’s aesthetic experience is, the sounder his taste, the sharper his moral focus, the freer- though not necessarily the happier- he is (Brodsky 1995, pp. 49-50).

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Week 8+9 2017

Last week I’ve been doing more editing on the overall PhD proposal. This lead to the conclusion to decouple the introduction and work with Andrew on the refined version of the one pager.

I’ve commenced pilot fieldwork in Canberra on Friday and Saturday.

Found that I need to further revise my matrix reflecting some of the actual play activities:

One of the most compelling findings, is that of those people that displayed play behaviour the majority were listening/ consuming music.

This reflects some of  Debord work “The Society of the Spectacle”:

‘Stars of consumption, through outwardly representing different personality types, actually show each of these types enjoying an equal access to the whole realm of consumption and deriving exactly the same satisfaction therefrom. Stars of decision, meanwhile, must possess the full range of accepted human qualities; all official differences between them are thus canceled out by the official similarity which is an inescapable implication of their supposed excellence in every space.’ p. 39

‘Thus false conflicts of ancient vintage tend be resuscitated- regionalisms or racisms whose job it now is to invest vulgar rankings in the hierarchies of consumption with a magical ontological superiority. Hence too the never- ending succession of paltry contests- from competitive sports to elections- that are utterly incapable of arousing any truly playful feeling. Wherever the consumption of abundance has established itself, there is one spectacular antagonism, which is always at the forefront of the range of illusory roles: the antagonism between youth and adulthood.’  p.40

Reflection on the fieldwork pilot in Canberra

Pilot observation took place on a Saturday from 7.00 am to 3.30 pm (due to camera failure and weather change the observation concluded).

Observation remarks:

  • most people walk alone and listen to music (7 am -9 am)
  • The shared spaces have predominantly a movement function. People only stop and engage with each other on edges.
  • socially marginalised people start to populate the space (8.30 am onwards)
  • Cafes and shops open (8-9 am)
  • people use intersections for crossing only/ play happens either at the edge of or on a footpath
  • pillow sculpture focal point for playful behaviour
  • people usually sit on benches near pillow
  • people flow mostly through the middle of Garema
  • music player sets up near pillow (1 pm and stays there for the afternoon)
  • people sit on cubes
  • window shoppers stay under the awnings near the edges
  • two children play with sloped pavement surface around the trees (not too much with the coloured pavers) –> starting to use loose element from tree droppings to play with

Play behaviour assessment:

53 people – playing around
9 people – playing up on words
7 people- playing a part
6 people – playing for time
5 people – playing tricks

Critical remark: This assessment was purely based on my own interpretation of the situation. I found it uneasy to capture all activities. Therefore I questions somewhat the reliability of this part of the observation, unless one interviews the people right after the observation. Although I believe that most people are not even aware that they actually display play behaviour.

Human behaviour:

Group sizes:

Majority of people are alone. However, the proportion of people that are not alone, most of them are allocated to the group size of 2 people, followed by 4 people (mostly families), three people and rarely 5 or more.

Preferred play setting

sculpture,

 

 

 

 

 

 

 

 

Week 7 2017

Milica kindly provided me with additional comments that made it into a revised version of the PhD proposal.

The latest version can be accessed here: phd-proposal-feb15

The corresponding draft assessors response can be accessed here: assessors-response-ghm-feb-2017-15

Reflection

In preparation of the document I found myself going back to earlier versions and realised that some of the writing in the comprehensive versions of the assessor response will become the chapters.

If everything goes alright I can commence with the data collection in Canberra in mid March in Canberra, ideal temperatures too, and in Germany end of May, June or July.

The shut-up  and write question is useful to complete tasks.

Papers and conferences

Lisa and I are co-authoring on a paper on design process of healthy environments and meaningful engagement with children. This will be presented at the Spaces and Flow conference on 12-13 October 2017 http://spacesandflows.com/2017-conference

Also my paper presentation at the International Play Association has been accepted. I will present my early findings and the PhD concept http://canada2017.ipaworld.org/themes
The abstract can be accessed here: play-and-the-city-ipa

Literature

Debord, G. (1994) The Society of the Spectacle. Zone Books. New York.

‘THE WHOLE LIFE of those societies in which modern conditions pf production prevail presents itself as an immense accumulation of spectacles. All that once was directly lived has become mere representations.’ p. 12

‘In a partial way, reality unfolds in a new generality as a pseudo- world apart, solely as an object of contemplation….The spectacle in its generality is a concrete inversion of life, and, as such, the autonomous movement of non-life.’ p. 12

‘THE SPECTACLE APPEARS at once as society itself, as a part of society and as a means of unification. As a part of society, it is that sector where all attention, all consciousness, converges. Being isolated -and precisely for that reason -this sector is the locus of illusion and false consciousness; the unity it imposes is merely the official language of general separation.’ p. 12

‘ THE SPECTACLE IS NOT a collection of images; rather, it is a social relationship between people that is mediated by images.’ p. 12

‘It is by far better viewed as a weltanschauung that has been actualized, translated into the material realm- a world view transformed into an objective force.’ p. 13

The spectacle is ‘the very heart of society’s real unreality. In all its specific manifestations- news or propaganda, advertising or the actual consumption of entertainment -the spectacle epitomizes the prevailing model of social life….In form as in content the spectacle serves as total justification for the conditions and aims of the existing system. It further ensures the permanent presence of that justification, for it governs almost all time spent outside the productive process itself.’ p. 13

‘The language of the spectacle is composed of signs of the dominant organization of production- signs which are at the same time ultimate end- products of that organization.’ p. 13

‘lived reality suffers the material assaults of the spectacle’s mechanisms of contemplation, incorporating the spectacular order and lending that order positive support. Each side therefore has its share of objective reality. And every concept as it takes its place on one side or the other, has no foundation apart from its transformation into its opposite: reality erupts within the spectacle, and the spectacle is real. This reciprocal alienation is the essence and underpinning of society as it exists.’ p. 14 –-> play can be one of those eruptions!

‘IN A WORLD THAT really has been turned on its head, truth is a moment of falsehood.’ p. 14

‘Understood on its own terms, the spectacle proclaims the predominance of appearance and asserts that all human life, which is to say all social life, is mere appearance. But any critique capable of apprehending the spectacle’s essential character must expose it as a visible negation of life- and as a negation of life that has invented a visual form for itself.’ p. 14

‘For the spectacle, as the perfect image of the ruling economic order, end are nothing and development is all- although the only thing into which the spectacle plans to develop itself.’ p. 15- 16

‘The spectacle is the chief product of present- day society.’ p. 16

‘For the spectacle is simply the economic realm developing for itself – at once a faithful mirror held up to the production of things and a distorting objectification of the producers.’ p. 16

‘The spectacle is by definition immune from human activity, inaccessible to any projected review or correction. It is the opposite of dialog. Wherever representation takes on an independent existence, the spectacle reestablishes its rules.’ p. 17

‘The spectacle is hence a technological version of the perfection of separation within human beings.’ p. 18

‘SO LONG AS THE REALM of necessity remains a social dream, dreaming will remain a social necessity. The spectacle is the bad dream of modern society in chains, expressing nothing more than its wish for sleep. The spectacle is the guardian of that sleep.’ p. 18

‘BY MEANS OF THE SPECTACLE the ruling order discourses endlessly upon itself in an uninterrupted monologue of self-praise. The spectacle is the self-portrait of power in the age of power’s totalitarian rule over the conditions of existence. The fetishistic appearance of pure objectivity in spectacular relationships conceals their true character as relationships between human beings and between classes; a second Nature thus seems to impose inescapable laws upon our environment. But the spectacle is by no means the inevitable outcome of a technical development perceived as natural;on the contrary, the society of the spectacle is a form that chooses its own technical content.’  p. 19

In the course of this development all community and critical awareness have ceased to be; nor have those forces, which were able – by separating – to grow enormously in strength, yet found a way to reunite.‘ p. 21

‘THE GENERALIZED SEPARATION of worker and product has spelled the end of any comprehensive view of the job done, as well as the end of direct personal communication between producers. As the accumulation of alienated products proceeds, and as the productive process gets more concentrated, consistency and communication become the exclusive assets of the system’s managers. The triumph of an economic system founded on separation leads to the proletarianization of the world.’ p. 21

‘OWING TO THE VERY SUCESS of this separated system of production, whose product is separation itself, that fundamental area of experience which was associated in earlier societies with an individual’s principal work is being transformed -at least at the leading edge of the system’s evolution- into a realm of non-work, of inactivity. Such inactivity: it remains in thrall to that activity, in an uneasy and workshipful subjection to production’s needs and results; indeed it is itself a product of the rationality of production. There can be no freedom apart from activity, and within the spectacle all activity is banned- a corollary of the fact that all real activity has been forcibly channeled into the global construction of the spectacle. So what is referred to as “liberation from work,” that is, increased leisure time, is a liberation neighter within labour itself nor from the world labor has brought into being.’ p. 21-22

THE SPECTATOR’S ALIENATION from and submission to the contemplated object (which  is the outcome of his unthinking activity) works like this: the more he contemplates, the less he lives; the more readily he recognizes his own needs in the images of need proposed by the dominant system, the less he understands his own existence and his own desires. The spectacle’s  externality with respect to the acting subject is demonstrated by the fact that the individual’s own gesture are no longer his own, but rather those of someone else who represents them to him. The spectator feel at home nowhere, for the spectacle is everywhere.‘ p. 23

 

Impact session seminar 16/02/2017

get onto research gate, google scholar citation and research edu

be sure about the operational definitions: proximity, counter factual, precision

–> make a case and tell a story (drop methodology and literature review)

 

 

Week 46: 27th- 30th December 2016

If play originates from a temporary situational joyful and socially inclusive sensational experience and situations are just products of what we are, how is it that there is so few public places truly socially inclusive designed.

Situation- a set of circumstances in which one finds oneself; a state of affairs. Or the location and surroundings of a place.

Spontaneous-  performed or occurring as a result of a sudden impulse or inclination and without premeditation or external stimulus.

Play – engage in activity for enjoyment and recreation rather than a serious or practical purpose.

 

Play origin

Old English:

plegain – to exercise

plega –brisk movement

 

Middle dutch:

Pleien- leap for joy, dance

 

Theoretical thinking

Hypothesis:

Further thinking on spaces based on the reading of Lefebvre’s “Production of space”. Aim of this exercise is to create a response to the assessors feedback.

Energy needs to be wasted. Energy is not constant.

Energy produces space, too much space speeds up the process until disconnection is reached. The process implodes and creates a new opportunity through rebirth.

Hypothesis:

We create in our minds spaces (representational space). These spaces can be transformed through energy into symbols reaching out beyond the individual identity. Symbols can be transformed into action. These actions have effects on objects in space. Through a surplus of energy we can modify these objects. This process of producing these spaces can be described as ‘lived space’ (Lefebvre,p. 236) as it embodies both spaces (mentally and physically) and has a strictly symbolic existence. The results of the produced spaces effect other identities adding further energy and shared interpretation of objects. This shared interpretation in conjunction with actions in space can be called co-production of space. This co- production can just occur as long there is a surplus of energy available. Once this energy ceases, transformation occurs and changes into the space of memory. Complete is the cycle of space creation. This transformational process from co-production into the representational space, as Lefebvre referred it to, and opens up bridge to consciousness that creates the opportunity to elevate self- consciousness.

How does this relate to play?

Play lends itself as the perfect vehicle to this theory.

Lefebvre eloquently described this in his book “The production of space” and talks about a triad of spaces.

The representation of space (maps)

The representational space (memory).

The lived space (absolute space).

 

His thoughts originate from Marxist thinking about the value creation through labor,….

I agree with Lefebvre that “knowledge falls into a trap when it makes representation of space the basis for the study of ‘life’ for is doing so it reduces the lived experience”.  There is a great need to verify and test a priori against a posteriori (empirical evidence research approach. As Kant outlined the nature of a priori as transcendental and enables a better understanding of different forms of all possible experiences. I believe that both need to work with each other. A priori can be understood as a guiding light asking to be contested and verified by the a posteriori approach.

Hypothesis:

Urban Designers should strive to understand all three dimension of spaces if we want to create healthier environments for people. Play can be one of the vehicle to understand the interplay and harness indicators that create a fertile ground for carefully inserted changes in space enabling further playful experiences.

Conclusion:

With that in mind, the study of play supports the notion for this research project to collect data in a posteriori manner and use abductive reasoning, to find the logical inference from observation to the most likely explanation (theory).

Play in the street

 

Week 45: 19th- 23rd December 2016

Reviewed and reflected on the feedback from Assessors report and prepared a draft response as a basis for discussion on the 21 December 2016 with my supervisors.

Discussion Report can be accessed here: Draft Response Assessors Report

Supervisor arrangements

Andrew- will take a step back in 2017 for own research and swapped positions with Milica.

From 1st January 2017 Milica will be primary supervisor until Andrew returns. However, regular meetings with Andrew are scheduled.

Definition of play

Over the weekend I’ve revised the definition and created a figure to support the theoretical write up.

playmodel.jpg

 Supervisor meeting 21st December 2016

Notes:

Link between Lefebvre

explain production of space

how is each element linked to play

Small review of quality of space literature in relation to play and why is play important part of it.

Why can a behaviour approach can be used in the context
Be careful with mixing resolving something and explorational pursuit

Explain the three examples more. –> explain the behavioural study

Explain a bit more the diagram and the definition.

 

 

Is play in us or in the environment?  –> hypothesis

Health and well-being needs to be more clearly linked.

Hypothesis exercise

end up being a traditional PhD.


 

Brainstorming after meeting

research and explain the

Social cognition and interpersonal perception

Situationist –> alternative life experiences through the construction of situations,

Literature:

Lefebvre, H. (1991). Production of space.

“A society is a space and an architecture of concepts, forms and laws whose abstract truth is imposed on the reality of the senses, of bodies, of wishes and desires.” p. 139

“Metaphor and metonymy are not figures of speech – at least not at the outset. They become figures of speech. In principle, they are acts. (…) they bring fourth form  the depths not what is there but what is sayable, what is suceptible of figureartion- in short, language.”  p. 139

“Symbols always imply an emotional investment, an affective charge…and thereafter ‘represented’ for the benefit of everybody elsewhere.” p. 141

He speaks of reading of space.. which is possible. “Space is at once result and cause, product and producer; it is also a stake, the locus of projects and actions deployed as part of specific strategies, and hence also the object of wagers on the future- wagers which are articulated, if never completely.  p. 142-143

“In produced space, acts reproduce ‘meanings’ even if no ‘one’ gives and account of them. Repressive space wreaks repression and terror even though it may be strewn with ostensible signs of the contrary (of contentment, amusement or delight). This tendency has gone so far that some architects have even begun to call either for a return to ambiguity, in the sense of a confused and not immediate interpretable message, or else a diversification of space which would be consistent with a liberal and pluralistic society.” p.144-145.

Robert Venturi –> architect wanted to make space dialectical (1966). He saw the space not as an empty and neutral milieu occupied by dead objects, but rather as a field of force full of tensions and distortions.” p. 145

Lefebvre’s  conclusion “We have seen that the visual space of transparency and readability has a content -a content that it is design to conceal: namely, the phallic realm of (supposed) virility. It is at the same time a repressive space: nothing in it escapes the surveillance of power. Everything opaque, all kinds of partitions, even walls simplified to the point of mere drapery, are destined to disappear.” p, 147

He also suggests based on the notion that we are designing now buildings with steel and glass that “private life ought to be enclosed, and have a finite, or finished, aspect. Public space, by contrast, ought to be an opening outwards. What we see happening is just the opposite.” p.147

Space related to:

Form, structure and function -> structural or functional  analysis p. 147

aegis–> public areas (the spaces of social relationships and actions) are connected up the private areas (spaces for contemplation, isolation and retreat) via ‘mixed’ areas (linking thoroughfares)

shin-gyo-sho embraces three levels bound together by relationships of reciprocal implications: spatial and temporal, mental and social. p. 153

It is not about decoding a system –> rather creating one. Differences between Japanese philosophy and western civilisation. p. 156

Its about bringing the realms into harmony and not through use of sign and its analytical proclivities. p. 156

 

 

 

 

 

 

 

 

Week 41: 21st- 25th November 2016

After the comments of the assessor’s at the confirmation seminar last week, I took the opportunity to reflect and go through my own comments. Unpacking the session with my supervisors was helpful in order to contexcualise aspects. Valuable were the following:

  • keep narrowing down;
  • revisit research question and my aim as tools to narrow the scope further;
  • stick to my methodology and methods.
  • as it is not about existentialism or discourse analysis rather an observation of a phenomena providing insights into the dynamics and tension of the triad of spaces in light of the the affordance theory form Gibson and Flow. The tension can be made visible through the heuristic device of play explaining transformational change in time space of public urban spaces (streets environments)
  • This research is not traditional phenomenology (Merleau- Ponty) – environmental psychology based on Gibson and Kaplan
  • unpack further the meaning of play in the context of my research
  • justify further why the street (go back to Appleyard)
  • read again Lefebvre in order to explain the context of time when he wrote this and compare to the contemporary environments
  • the concept of “Right to the city” was seen from Andrew as an opportunity to dive further into as a basis to root this tension of space through play.

send email off the HDR waiting for feedback on the confirmation seminar that I can proceed.

Notes from literature work (23 Nov):

Henri Lefebvre “critique of Everyday Life” 1947 (translated 1991)

Since Marx and through the notion of making alienation a key concept in analysing the human situation Lefebvre was the first philosopher who connected philosophy to action. P. x

“Man must be everyday, or he will not be at all” p. xix

Own observation/ reflection

The tension in urban public spaces between the production of space and the regulation accompanied by the consumption of spaces is evident and even more prominent in the contemporary context of humans and the urban condition.

City governments around the world aim for the creation of equitable and just places, as it is supported by the New Urban Agenda. However, the current condition shows inconsistencies and tensions. Urban designers and architects aim to deliver under the promise of vibrancy and vitality quality urban spaces for all. Contemporary urban renewal processes focus strongly on objects in combination with land value capture propositions and increase liveability. Urban vibrancy is increasingly delivered under the paradigm of consumption and productivity. This not just reflects the neoliberal zeitgeist, but also raises questions around alienation and correlation to mental health issues in urban systems. These tensions can be made visual through play as a heuristic device.

Alienation leads to impoverishment, to the ‘despoliation’ of everyday life. However, Lefebvres everyday life is not reduced to inauthenticity of Alltäglichkeit, as in Heidegger or Lukács. P. xxiv

Modernity which has despoiled the everyday life of former times, which never appeared save in its metamorphoses, as in festival, which embodied a genuine ‘auto-critique’ of the everyday; it is modernity which has caused everyday life to degenerate into ‘the everyday’ p. xxvi

Modernity is the movement towards the new, the deployment of technology and rationality (which Lefebvre calls ‘modernism’), but it is also the absence of any real transformation of social relations, and leads from the human towards the inhuman, towards barbarity. P. xxvii

–> play behaviour mobile phone in public space –> transformation of the mind?? Less ‘real’ social interaction –> interactions of the minds –> disconnected from the ‘real’ –> but there is Pokemon Go??

Habermas distinction between System and Lebenswelt informed the work and impacted the debate in the second half of the 20th century in Europe.

Naïve, physically adept but spiritually innocent – Charlie Chaplin

Visually comic moments when Chaplin when he cannot adept create laughter and assure that humor never becomes awkward or embarrassing. Like pleasure, like harmony in music, laughter is stimulated by a series of resolved tensions, in which moments of relaxation are followed by even higher tension. P.10

Strangeness –> alienation

Through deviation through disorientation and strangeness, Chaplin reconciles us on a higher level, with ourselves, with things and with the humanized world of things. P.11

Restricting access to these pressures urban spaces.

“there are plenty of reasons for thinking that descriptions and cross-sections of this kind, through they may well supply  inventories of what exist in space, or even generate a discourse on space, cannot ever give rise to  a knowledge of space. And, without such a knowledge, we are bound to transfer onto the level of mental space – a large portion of the attributes and ‘properties’ of what is actually social space.” p.7

the physical experience in cities occupied by sensory phenomena, including products of the imagination such as projects and projections, symbols and utopias. p.11

space of social practice

focus on dialectic rather codes –> highlighting contents inherent to the forms under consideration. p. 18

25 Nov.

After reading several papers on Lefebvre and the context of his work it became clearer why his work is relevant in the contemporary urban academic debates.

The social space development within the triad of spaces can reflect the state of development of societies. Therefore it serves not just as an instrument for space observation (play) but may explain certain transformation of social conditions in cities. –> concepts that are non instrumental, spatial separated and public.

Conflicts can be made visual through the heuristic device of play. Stevens rightly pointed our that there is to date very little empirical evidence and understanding in the “non-functional” use and design of public space. He references Lennard and Lennard (1984), Dargan and Zeitlin (1990) as well as Borden (2001). Also he indicated that Gehl and Whytes work are mostly space- centred investigating general categories of everyday behaviour.

Stevens draw on observations of a range of cities over a long period. Critique point from him is that urban design foundation is amenity, but this can draw some people away. another issue is that we thrive to figure out how  spatial characteristics  shape people’s experiences and behaviours. Amentity again is being seen as the solution to a desired outcome that share the physical environment. However people understanding, their actions is well understood and fixed.

–> play and the city –> discover of the potential of urban streets.

–> development of an tool or a play ‘lense’ that can be used to make this tension visible and help to find solutions for urban design interventions.

Revised research question:

  • What are the aspects of play that reveal and facilitate change in the urban social spaces?
  • What are the  health co-benefits of play?
  • How can this device be used to inform optimal urban experiences?

Finding a way how to look beyond some of the limits of urban design thinking and practice.

Week 38: 31st Oct- 4 November 2016

Week 37 was predominately used to catch up with work and get up to speed after the conference in Quito, Ecuador.

I’ve learned at the conference that in particular my preliminary research had already an impact in cities (city of Gervais in Oregon, USA) through our Perspective Statement on Right to the City: 2016-10-08-gervais-planning-and-design-document

–> this proofs that the play research in already useful in a applied context, even before finalised.

Highlights of this week:

  • confirmation of my paper presentation at the American Association of Geographers Conference in Boston, in April 2016. Given my co session presenters have a focus on emotion in urban spaces, I was urged to change my abstract. (see under the Link)
  • Still waiting to hear back from the IPA conference (paper abstract submission here)
  • Received feedback on funding proposal for DAAD/ Universities Australia –> unsuccessful. Need to investigate new ways to fund the research trips.
  • preparation of my presentation for the Play Symposium in Canberra on the 10th November. Focus on play in cities and not just for children. Presentation can be accessed here: play-symposium-uc-greg-mews
  • Received the kind invitation to present my PhD research at TEDx in Wellington as part of the city partnership with TEDx Canberra. 13- 16 November 2016.
  • Preparation of my presentation for my confirmation seminar. The meeting with Andrew was very constructive. I need to focus on structure that works for broader audience, but also caters to the needs of the academics.