http://book.douban.com/subject/3888039/

記着，我們不只是文化的消費者，也是生產者─即是，除了無限下載之外，你有咩同人分享？

編輯︰黃靜

《明報》．世紀，2010年12月29日

________________

聖誕節過去了。殖民地時代，聖誕節和新年聽到的除了福音之外，便是教宗、英女皇和港督的文告，都是傳統的仁愛呼籲，略改文辭，港督則與家人圍在壁爐之前，向市民送上聖誕祝福。在傳統節日，守舊就是能耐，政治領袖的文辭和表達形式只能稍微創新，而這正是頂上功夫。亂搞亂舞一通，不是創新，而是荒誕不經，不成體統。

近年每逢聖誕新年，都要忍受特首無聊及失格的政治宣傳，在貧富懸殊之衰世，徒增一苦。老曾做特首五年，終於修成惡果，今年的聖誕文告的品味之壞，無以復加。我們無法投票選舉特首，出了一位品味惡劣的領袖，雖然與己無關，也是丟人現眼。

特首在空洞孤寂的府邸的壁爐架上玩弄塑膠聖誕裝飾，無所事事之際，聽見空蕩蕩的桌上放了的筆記型電腦有電郵信息，便走上前去，原來是歌手MC Jin 歐陽靖作了一首聖誕歌Rap Now 2010 ，用來和議特首在政改方案的Act Now 口號。煲呔對着電腦屏幕的MC Jin 說： 「Yo! Check it out!」歌曲以「起錨」為口號，串起政府的新政和面書的潮流，特首聞歌打拍子，叫囂讚歎。

老曾大概忘了他身處的是以中國人為主的香港，末後卻用英文講聖誕和新年快樂，而且用了共產中文「祝願」。府邸除了他自己之外，空無一人，猶如孤家寡人。音樂方面，rap 歌不是用來附和政府的，rap 歌有倡議反抗和變革之意。至於口號「起錨」，是漁家出海捕魚或黑社會逃亡海外之用，與聖誕節的安頓與休息大相逕庭。聖誕新年不叫人一家圍爐團聚，也該叫人憐恤孤苦之人，多加施捨，特首卻高呼「起錨」，航向冰冷的大海。MC Jin 無疑有其來頭，奧巴馬競選總統，也用了他的《致奧巴馬的公開信》作為宣傳rap。然而有名歸有名，名人不是那樣用的。

廣告失時失地，不可饒恕。中國政治的古風，首重的是敬天時。冬至、聖誕與新年都是平息紛爭，與民休息及憐恤孤苦之時，不是用來聞歌起舞、勤呼「起錨」以支持政府新政之時。府邸場地空寂，毫無團聚之溫情，塑膠聖誕藤也毫無生氣，真的聖誕樹也許不環保，但最低限度要有真的松枝吧？一切不該犯的錯誤，都犯齊了。美學和文化判斷要到了病入膏肓的絕境，才會如此頭頭碰着黑的。

另一邊廂，地產財閥糟蹋大浪西灣、火燒南生圍、亂填農田和堵塞溪流，殺滅生物。明明可以保育環境，設計順應自然生態的豪宅也可以牟利的，財閥卻偏偏喜歡夷平地皮，用混凝土征服一切，而混凝土卻是監獄的材料美學。香港的不義，豈止是政治或道德問題，根本是美學品味問題。而美學問題，其實是人格問題。

Presentation:

Lloyd, Richard. (2006) “Living like an artist” & “ Conclusion: The Bohemian Ethic and the Spirit of Flexibility, Neo-bohemia : art and commerce in the postindustrial city. New York : Routledge, pp.99-122 & pp. 235-246.

————-.

O’Connor, Justin. (2007) The cultural and creative industries: a review of the literature, the“Creative Partnership Series”. Leeds: School of Performance and Cultural Studies, The University of Leeds.

Modernist notion:

-         Modernist illusion: market and “artistic freedom” (13)/ two responds: “art for art sake” or “bohemian or flaneur” (14)

-         Cultural policy: in defense of the market logic & culture as a ‘national’ agenda, if not only an elitist approach “nationalization of culture thus entailed an element of democratic collectivisation” (14)-15

-         Modernist notion: tension btw the popular and the high art with the expand of leisure time and advancement of technology (15)

New dimension: Political economy of culture

-         ideological critique limited on on “text”; Garnham refashion the Marxist materialist notion:

‘materialism’ tended to be both too much and not enough. Toomaterialist in the sense that culture was seen to be completely reducible to the needs of ‘capital’ or the ‘ruling class’; not materialist enough in the sense that once stated there was no examination of how this culture got produced, by whom and under what conditions. The central contention of the political economy school was that under capitalism culture was increasingly produced as a commodity, and thus subject to the logic and the contradictions of this system of production.” (19-20)

-         inadequacy of the Adorno’s model:

i. Consuming difference and newness, not sameness and mass.

ii. Unpredictability (21);

iii. Cultural industries(Miege): physical objects as commodities; free but rely on advertising & sponsorship; performance with restricted viewing by tickets (22)

iv. Intermediary instead of the independent artist is the biggest determining force in production and consumption; “creators remaining ‘free’ if only to starve” esp. in the technology (i.e. capital)-concentrating sector (22)

~ why “studies”?

New cultural policy

-         Hesmondhalgh: 1980s fr culture industry (as a critique) to cultural industries (as an operation); no longer prioritizing art as authentic and the “others”

-         “cultural industries needed to be protected as part of a national cultural policy” (European vs. US) ;”majority of cultural products consumed were produced by the commercial sector these could not be simply left to fend for themselves whilst the (minority) arts absorbed all the attention” (22) + technology has transfer the power to the mass (23)

-         i.e. “To contest with capital, not simply as a site of ideological and political struggle but as symbolic assertion of an “authentic meaning as part of everyday, ordinary culture.” (25)

-         e.g. Greater London Council (GLC) 1979-1986: democratic cultural policy- shifted the balance from creators to audiences (informed and educated) and see market as an efficient way of allocating resources, i.e. To break away from the policy focus on high art and creators in terms of funding and policy subject (23-24) (see Barbrican centre http://en.wikipedia.org/wiki/Barbican_Centre#History_and_design) (ref: 1980 文中心的建立 及藝術發展局)

From cultural to creative industries:

- local (Labour) respond to Thatcher’s national policy of de-regualtion and economic development: manufacturing is finished, provide business-friendly environment to prompt local economy (26)

-         John Myerscough: first to argue for the benefit of spending on the arts, provide statistics of its economic benefits (~useful culture) (26-27)> “cultural-led urban renaissance”

-         formula: local arts funding + local economic development + cultural consultant (intermediary/ spine doctors)(27)

-         New Left: “the third way”- public economic + urban interventions / running the arts “professionally”(e.g. Big issue http://www.bigissue.com/ http://www.blinkx.com/watch-video/vendors-selling-the-big-issue/D4mDemZqe-QAabIT58IYiQ http://magz.roodo.com/article/2155 台版 http://www.bigissue.tw/ )

-         ***post-Fordism and SMES (Lash and Urry, Scott, Harvey): regional and “small and  medium size enterprieses; emphasize the importance  of “social space” in cultural production (parallel to “cultural-turn) (28):

i. spatial: global network operate on local level (in stead of the national)(28)

ii. clustering: “untraded externalities”, pool of common knowledge, flexible human resoures, relations of trust and sense of common goals (29)

iii. Rootedness in loal social structures, institutions and cultures could not be transfer or replicate (29)

-         SMSE:

i. labour pattern: “freelancers and independent businesses persisted even at the heart of the corporate sector they were an artisanal survival related to older, less capitalised cultural forms; or linked to State subsidy; or kept on as a form of (self-) exploitation through flexible contracts, a reserve army of labour keeping wages low and payment through royalties rather than for actual work done.”(29)(further later)

ii. spatial setting: local clusters in urban setting with different level of concentration in different sector (fr highly networked to loosely)

iii. Capital & fund: boundary btw commercial and subsidised sector, motive of art and motive of profit are loose (30)

> Harvey: capital “cultural-fix” ; Lash & Urry “aesthetic reflexity”; Castells: “symbolic objects”- text, images, sounds and experiences in addition to flow of people, money, good and information (31)

-         New work culture: vertical disintegration :

i. creativity as prime value (*continuation of the modernist notion than non-western traditions)(31)

ii. enterprising the self: Thatcher revival of the “Victorian values” + the backlash of DIY culture- a paradoxical mix

iii. Culturalization of organization culture (32)

Creative cities:

- Rediscovery the city:

-         Raban’s Soft City (1974): city as realm of consumption than production ; Landry’s “the art of city making” – cultural venues, quarters, street markets, alternative retail, public art, signage urban landscape, regeneration and etc. vs. American model- “City are not just economic but cultural – and to an extent not frequently recognised – ethical and political.”(35)

-         Zukin, Llyod: “Cultural gentrification” – circuit- culture prompt real estate x urbanity that culture needed (35)

-         New urbanity:

-         DIY and technology proliferation

-         cultural resistance in Thatcher’s era becomes entrepreneurs

(Becker, Crane Alan Scott and Andy Pratt)

-         Networking***:

-         Grabher: global -village “two sorts of networks, those within the global corporation (or group of companies) and those within localities (the ‘village’) – both are ‘heterarchies’, self-regulating systems that allow not simply learning or adaptation but future-orientated ‘adaptability’. ”(see qoute on 37-38)

-         Wittle: network sociality – rapid exchange of information replace narrative base communication (~ replacement of family-artisan by workshops and eduction)

-         Kong & Banks: regulative eco-system & moral economy (39)

-         Leadbeater & Oakley: “habitus” (Bourdieu) making money and making meaning, emotional investment and calculation networks of trust and information all mix (38)

-         Scott: ‘collectivities of human activity and interest that continually create streams of public goods that sustain the workings of the creative field’ ; “revitalisation of the symbolic content’ of cities draws in city governments, linking these transformations with ‘ambitious public efforts of urban rehabilitation in the attempt to enhance local prestige, increase property values and attract new investments and jobs’(39)

~ (e.g. 梁東 , 周俊輝, 信報)

Creative Industries:

New Labour, the set up of  Department of Culture, Media and Sport (DCMS) (1997) and Chris Smith

-         Cool Britannia-‘creative industries task force’ involving many big names from the film, music, fashion and games sectors seemed part of the celebratory optimism and the political hype around ‘Cool Britannia’ New Labour Tony Blair PR-politics (41)

-         taking oppositional culture into entrepreneurship with the NL polical partnership (42)

-         problem of terminology:

- for political reason? To include digital technologies

- Howkin: intellectual propery right (43)~ keeping cultural goods from public goods

- DCMS list is a compromise: arts + design, fashion and software

- increased funding imply more social responsibility and economic returns

- “evidence base policy” to politics (45)

Definitions:

-         David Throsby model- art vs. commerce (47)

-         David Hesmondalgh model- excluding art just industries (48)

-         Alan Scott model – distinction among cultural commodities: i. Service output ; ii. Manufactured products (48-49)

-         The Work Foundation – “creative core” depends on “expressive value”(49-50)

-         Nesta – quality x condition of profit (51)

Conclusion:

-         “‘Critical’ here is not the same as being politically opposed; nor is ‘intrinsic’ about some universal, inherent quality of art. Cultural value is about something other than accumulation of profit and thus sets a limit to it. As I argued at the beginning, culture has long been caught up in commodity production, in the market. But this does not mean that culture acquiesces to the principle of unlimited accumulation” (52)

-         “Traditionally cultural policy has been about de-commodification, identifying certain cultural goods as having public value and thus provided for by state subsidy. The cultural industries agenda made a break with this in trying to pursue a cultural policy through industrial intervention.” (52)

-         ”moral economy of creative work sets some real limits to economic logics “ (52)

-         creativity unlimited? – “Maybe creativity has stripped out certain values associated with ‘artistic practice’ – innovation, inspiration, intuition, rule-breaking etc. – in a way that leaves a scarred landscape of discarded artistic practices, poisoning the well springs of the culture whence they sprung. The older traditions of the ‘golden mean’, the Chinese ‘middle way’, balance and harmony; the idea of a life spent in the acquisition of a difficult singular expertise, the artistic sacrifice of other routes, other skills, in order to master one; the gradual abandonment of self-expression in favour of other formal languages and meanings – all these appear archaic, irrelevant to the incessant innovation drive of creativity. Richard Sennett has also written recently about the constant erosion of craft skills and other forms of long acquired embodied knowledge (Sennett, 2006). In particular we might look to the ecological challenge to accumulation, which sees constant innovation as a form of waste” – where is social justice?

_______.

Final words:

“Next day. A procession of ragged, beaten, chained prisoners, each wearing a hat, on their way to execution. The finished hats are even more enormous and preposterous than in the previous scene. “

- Caryl Churchill, Far Away

Caryl Churchill, Far Away

張經緯《音樂人生》

———–.

Creativity and urbanity:

On spatial politics:

Zukin, Sharon. (1995) The Cultures of Cities. Massachusetts, Oxford: Blackwell.

Landscape of power:

-         finance and culture facilitate elite connections;

-         architecture of authority gives physical form to official sites and concentration of power;

-         landscape of power is a built environment of dominace and subordination legible in the spatial assertions of a corporate skyline, the decay of industries or deteriorated zone that capital has rejected.

-         e.g. Nylonkong-A Tale Of Three Cities, Times, 17^th Jan 2008.

http://www.time.com/time/magazine/article/0,9171,1704398,00.html

-         e.g. West Kowloon Cultural District

Zukin, Sharon. (2008) Naked City: the death and life of authentic urban place. New York: Oxford University Press.

Cultural gentrification:

-         “To be sure, a group that can afford to pay higher rents can also be reasonably sure their claim will win: artists displace manufacturers in livework lofts, and are displaced in turn by lawyers and media moguls who buy these lofts as luxury condos; a gourmet cheese store or quirky coffee bar replaces a check-cashing service or take-out food shop, and is in turn displaced by a chain store that pays many thousands of dollars each month for the location. But this power over space is not just fi nancial. Even more important, it’s cultural power. New tastes displace those of longtime residents because they reinforce the images in politicians’ rhetoric of growth, making the city a 24/7 entertainment zone with safe, clean, predictable space and modern, upscale neighborhoods. The sociologist John Hannigan says that the more spectacular new urban cultural spaces—a Disneyfi ed Times Square or a hipster district of art galleries, performance spaces, and vegan cafés—promise the safe excitement of “riskless risk.”(6)

-         “Origins” suggests instead a moral right to the city that enables people to put down roots. This is the right to inhabit a space, not just to consume it as an experience. Authenticity in this sense is not a stage set of historic buildings as in SoHo or a performance of bright lights as at Times Square; it’s a continuous process of living and working, a gradual buildup of everyday experience, the expectation that neighbors and buildings that are here today will be here tomorrow.” (8)

-         石硤尾http://www.ln.edu.hk/mcsln/5th_issue/criticism_01.html

On city and labor:

O’Connor, Justin. (2007) The cultural and creative industries: a review of the literature, the“Creative Partnership Series”. Leeds: School of Performance and Cultural Studies, The University of Leeds.

Cultural-led urban renaissance:

-         British New Left: John Myerscough: first to argue for the benefit of spending on the arts, provide statistics of its economic benefits (~useful culture) (26-27)> “cultural-led urban renaissance”

-         formula: local arts funding + local economic development + cultural consultant (intermediary/ spine doctors)(27)

-         New Left: “the third way”- public economic + urban interventions / running the arts “professionally”

-         e.g. Big issue http://www.bigissue.com/ http://www.blinkx.com/watch-video/vendors-selling-the-big-issue/D4mDemZqe-QAabIT58IYiQ http://magz.roodo.com/article/2155

-         台版 http://www.bigissue.tw/

Creative labor:

-         Modernist illusion: market and “artistic freedom” (13)/ two responds: “art for art sake” or “bohemian or flaneur” (14)

-         post-Fordism and SMES (Lash and Urry, Scott, Harvey): regional and “small and medium size enterprieses; emphasize the importance  of “social space” in cultural production (parallel to “cultural-turn) (28):

-         SMSE:

1. labour pattern: “freelancers and independent businesses persisted even at the heart of the corporate sector they were an artisanal survival related to older, less capitalised cultural forms; or linked to State subsidy; or kept on as a form of (self-) exploitation through flexible contracts, a reserve army of labour keeping wages low and payment through royalties rather than for actual work done.”(29)(further later)
2. spatial setting: local clusters in urban setting with different level of concentration in different sector (fr highly networked to loosely)
3. Capital & fund: boundary btw commercial and subsidized sector, motive of art and motive of profit are loose (30)

-         New work culture: vertical disintegration :

i. creativity as prime value (*continuation of the modernist notion than non-western traditions)(31)

ii. enterprising the self: Thatcher revival of the “Victorian values” + the backlash of DIY culture- a paradoxical mix

iii. Culturalization of organization culture (32)

-         Networking:

Grabher: global -village “two sorts of networks, those within the global corporation (or group of companies) and those within localities (the ‘village’) – both are ‘heterarchies’, self-regulating systems that allow not simply learning or adaptation but future-orientated ‘adaptability’. ”(see qoute on 37-38)

Lloyd, Richard. (2006) Neo-bohemia : art and commerce in the postindustrial city. New York : Routledge.

-         neo-bohemia is the new work ethics for flexible labour; misrecogintion of (239-242)

-         structural nostalgia to ahistorial images of the Bohemia (236)

-         e.g. http://motat.blogspot.com/2007/09/start-from-zero.html

Mass deception?

“A new hope: Simon Birch”, Timeout 2008.03.30.

http://www.timeout.com.hk/art/features/32996/a-new-hope-simon-birch.html

Flew, Terry, “Creativity, the ‘new humanism’ and cultural studies,” Continuum: Journal of Media & Cultural Studies, 18.2, June 2004, 161-178.

Humanism and the new humanism:

-         creativity as tradable value and soft skill; vital factor in the competitiveness of nations, regions and cities (162)

-         humanism is about universal value and perfection of individual human beings; critique to utilitarianism (164)

-         new humanism is a result of mass high education, reform the “elitist” notion of the old humanism (167); new humanism is a “entrepreneurial humanism”, a respond to the new conduct for commercial enterprises and the incorporating public sector in the context of globalization and multicultural space (168))

O’Connor, Justin. (2007)

-         ‘Critical’ here is not the same as being politically opposed; nor is ‘intrinsic’ about some universal, inherent quality of art. Cultural value is about something other than accumulation of profit and thus sets a limit to it. As I argued at the beginning, culture has long been caught up in commodity production, in the market. But this does not mean that culture acquiesces to the principle of unlimited accumulation” (52)

-         ”moral economy of creative work sets some real limits to economic logics “ (52)

-         creativity unlimited? – “Maybe creativity has stripped out certain values associated with ‘artistic practice’ – innovation, inspiration, intuition, rule-breaking etc. – in a way that leaves a scarred landscape of discarded artistic practices, poisoning the well springs of the culture whence they sprung. The older traditions of the ‘golden mean’, the Chinese ‘middle way’, balance and harmony; the idea of a life spent in the acquisition of a difficult singular expertise, the artistic sacrifice of other routes, other skills, in order to master one; the gradual abandonment of self-expression in favour of other formal languages and meanings – all these appear archaic, irrelevant to the incessant innovation drive of creativity. Richard Sennett has also written recently about the constant erosion of craft skills and other forms of long acquired embodied knowledge (Sennett, 2006). In particular we might look to the ecological challenge to accumulation, which sees constant innovation as a form of waste”

-         where is social justice?

-         e.g. 艾未未 http://www.guardian.co.uk/artanddesign/2010/mar/18/ai-weiwei-turbine-hall-china

———–.

Supplementary:

Bourdieu and 西九總裁喜歡什麼？

Caryl Churchill, Far Away http://www.facebook.com/profile.php?id=100000586080294&v=info#!/notes/onandon-qian-jin-jin/yuan-fang-ji-qi-ge-you-tai-xiao-hai-guan-zhong-wen-juan-diao-cha-guan-zhong-yi-j/10150173383200524

———–.

On spatial politics:

Zukin, Sharon. (1995) The Cultures of Cities. Massachusetts, Oxford: Blackwell.

Landscape of power:

-         finance and culture facilitate elite connections;

-         architecture of authority gives physical form to official sites and concentration of power;

-         landscape of power is a built environment of dominace and subordination legible in the spatial assertions of a corporate skyline, the decay of industries or deteriorated zone that capital has rejected.

-         e.g. Nylonkong-A Tale Of Three Cities, Times, 17^th Jan 2008.

http://www.time.com/time/magazine/article/0,9171,1704398,00.html

-         e.g. West Kowloon Cultural District

Zukin, Sharon. (2008) Naked City: the death and life of authentic urban place. New York: Oxford University Press.

Cultural gentrification:

-         “To be sure, a group that can afford to pay higher rents can also be reasonably sure their claim will win: artists displace manufacturers in livework lofts, and are displaced in turn by lawyers and media moguls who buy these lofts as luxury condos; a gourmet cheese store or quirky coffee bar replaces a check-cashing service or take-out food shop, and is in turn displaced by a chain store that pays many thousands of dollars each month for the location. But this power over space is not just fi nancial. Even more important, it’s cultural power. New tastes displace those of longtime residents because they reinforce the images in politicians’ rhetoric of growth, making the city a 24/7 entertainment zone with safe, clean, predictable space and modern, upscale neighborhoods. The sociologist John Hannigan says that the more spectacular new urban cultural spaces—a Disneyfi ed Times Square or a hipster district of art galleries, performance spaces, and vegan cafés—promise the safe excitement of “riskless risk.”(6)

-         “Origins” suggests instead a moral right to the city that enables people to put down roots. This is the right to inhabit a space, not just to consume it as an experience. Authenticity in this sense is not a stage set of historic buildings as in SoHo or a performance of bright lights as at Times Square; it’s a continuous process of living and working, a gradual buildup of everyday experience, the expectation that neighbors and buildings that are here today will be here tomorrow.” (8)

-         石硤尾http://www.ln.edu.hk/mcsln/5th_issue/criticism_01.html

On labor:

O’Connor, Justin. (2007) The cultural and creative industries: a review of the literature, the“Creative Partnership Series”. Leeds: School of Performance and Cultural Studies, The University of Leeds.

Creative labor:

-      Modernist illusion: market and “artistic freedom” (13)/ two responds: “art for art sake” or “bohemian or flaneur” (14)

-         “A new hope: Simon Birch”, Timeout 2008.03.30.

http://www.timeout.com.hk/art/features/32996/a-new-hope-simon-birch.html

On education and the arts

Flew, Terry, “Creativity, the ‘new humanism’ and cultural studies,” Continuum: Journal of Media & Cultural Studies, 18.2, June 2004, 161-178.

Humanism and the new humanism:

-         creativity as tradable value and soft skill; vital factor in the competitiveness of nations, regions and cities (162)

-         humanism is about universal value and perfection of individual human beings; critique to utilitarianism (164)

-      new humanism is a result of mass high education, reform the “elitist” notion of the old humanism (167); new humanism is a “entrepreneurial humanism”, a respond to the new conduct for commercial enterprises and the incorporating public sector in the context of globalization and multicultural space (168)

-

O’Connor, Justin. (2007)

creativity unlimited?

-         “Maybe creativity has stripped out certain values associated with ‘artistic practice’ – innovation, inspiration, intuition, rule-breaking etc. – in a way that leaves a scarred landscape of discarded artistic practices, poisoning the well springs of the culture whence they sprung. The older traditions of the ‘golden mean’, the Chinese ‘middle way’, balance and harmony; the idea of a life spent in the acquisition of a difficult singular expertise, the artistic sacrifice of other routes, other skills, in order to master one; the gradual abandonment of self-expression in favour of other formal languages and meanings – all these appear archaic, irrelevant to the incessant innovation drive of creativity. Richard Sennett has also written recently about the constant erosion of craft skills and other forms of long acquired embodied knowledge (Sennett, 2006). In particular we might look to the ecological challenge to accumulation, which sees constant innovation as a form of waste”

-         The old humanistic notion of the arts vs. creativity

-         e.g.藝訊2010年4月

On tradition

Negus and Pickering (2004)

- “tradition has neither disappeared as a dimension of various cultural systems nor proved incompatible with modern political, technological and cultural development […] tradition adapting, mutating, being inverted or living on in different forms, practice or objects. Although they remain seen as traditions, their meanings and value don’t remain unaltered. (100)

- tradition provided resources for cultural creativity and invention which modernity may appear to have foregone (100)

- Hobsbawm & Ranger “invention of tradition” and the nation state (103-)

- tradition as always associated with the collective, the old, the past while originality associated with the individual, the new and the future/ but total originality is incomparable because it may be unrecognizable (112)

- e.g. blues (far more to do with convention and tradition than with impulse) ;

- 杜煥

-張經緯《音樂人生》http://www.youtube.com/watch?v=ffZukgD8Sws

Smiers, Joost. (2004)  Arts Under Pressure: Promoting Cultural Diversity in the Age of Globalization. London, New York: Zed.

- problem faced by tradition nowadays is dislocation of traditions

- Elizabeth Fox-Genovese “the Western white male elits proclaimed the death of the subject at precisely the moment at which it might have had to share the status with the women and peoples from other races and classes who were beginning to challenge its supremacy. (128)

- e.g. Zimbabwean sculpture (115)

What we’ve forgotten?

Stevenson (2003)

- social justices, aesthetics vs. ethic, citizenship …

- “ culture is not the special domain of aesthetic values that can be used to criticize the instrumental workings of late capitalism […] it should not be because they corrupt culture’s presume authenticity. […] neither can we assure that cultures can be unproblematically attached to social groups or nations. (16) “culture is as much about difference as it is about sameness.” (17)

- “Cultural domination is tied not to a lack of information, but to the ‘exclusion from the power of naming. (18)

- cultural citizenship: “how it is possible to maintain solidarity with others while emphasizing the creativity of the self, or indeed to pursue justice while recognizing difference? (33) “ugly citizen” (151)“communicative civil society” (Harbamas)(19); “civil society is not merely an institutional realm, but is constructed through symbolic codes of inclusion and exclusion.”; “cultural citizenship is concerned with the degree of self-esteem accorded to manner of self-realization within a society’s inherited cultural horizon” (23)

- Moufee “passionate encounter” (than rationality) (24)

- Touraine “less political and more ethical”; “creation of public spaces that protect the rights of minorities and establish active forms of communication among those who have become separated” (25)(from identity politics to politics of difference)

- e.g. 艾未未 http://www.guardian.co.uk/artanddesign/2010/mar/18/ai-weiwei-turbine-hall-china

- 《都市野人》http://www.inmediahk.net/node/1006644

週日, 2010-04-18 11:15 — 阿野

位於西班牙東部的巴塞隆納（巴塞），在你腦海中是不是陽光普照、色彩繽紛？這固然是因為地理關係令陽光十分充沛，但有沒有想過當地的建築設計和城市規劃其實也應記一功？除了因為矮矮的小樓房能讓陽光落在街上以外，戶外空間的設計亦幫了不少忙。走到巴塞的戶外，你會發覺都沒有什麼壓在頭上的行人天橋和迂迴的地下隧道，能切實地讓人感到活在天空下，而不是天花下；這些種種，都不是「自然」而來，而是有賴建築師、設計師和城市規劃者一起花心思，藉設計維繫下來的。

巴塞隆納人之所以十分關注公共空間的設計，其實是有歴史原因的。在佛朗哥（Francisco Franco）獨裁統治近四十年（1936-1975）的期間，街上不可有５個或以上的人聚在一起，就連情侶想親親也不可以，否則可被收監，這種抑壓的社交情況，造就解放後人民對民主自由的強烈需求。城市規劃如何運用公共空間的設計回應人民的需求，便成為一個混合政治和民生的重大議題。

於80年代初擔任巴塞市議會城市規劃總監的建築師波希格斯（Oriol Bohigas），透過於城市中開闢一些大大小小的廣場（plaza）（這與香港一些舊區的「坊」（square）設計相似）來解決這個問題。這一方面增加人民凝聚相交的地方，另一方面，加強了地方之間的流通性（accessiblity）；或者，就民生意義而言，這理解作「親和度」更有意思。這種以「減法」（開闢廣場）而不以「加法」（大興土木）的建築設計，有效協助當時民主自由化的政治改革，同時，亦改寫了公共空間的公共性：由被監管（police）改寫成開放（open）。

除了廣場，想透過公共空間去知道一個城市中，政府和人民之間的關係，參看她的公園設計亦是個不錯的方法。巴塞的北站公園，普普通通一些樹木草地，驟眼看去根本沒有什麼搶眼的設計，又沒有觀鳥園，也沒有M字快餐；但這公園其實暗藏玄機。仔細看，整個公園都不需依靠鐵絲網和石屎牆，就只借地勢高低和沙草的分別來作間隔。另外，她亦不像香港的公園一般，步行空間都設計得像一條條管道，只剩前、後移動两個指令，讓人不想／不能多作停留；北站公園去管道化的步行空間設計，減少了催迫人們移動的感覺，亦把活動的選擇權交回給使用者。就這樣靜靜地，一個看似沒什麼噱頭的公園成就了偉大公園的元素：開放通透。

這樣的一個空間正因為沒有為其空間定下任何什麼觀鳥和溫室等功能，於是成為人們發揮想像、隨意活動的好地方。這種設計，足証巴塞政府對人民的信任和尊重。公園中的其他細節，諸如指示牌的設計，亦可以體會到這份信任和尊重。溫柔的綠色，加上帶點可愛的符號設計，指示牌安靜而清晰地擱在入口處的地上，每句指示都用上敬語，感覺是「溫馨提示」多於「規舉」。再往公園裹看，人們寫意地或坐或卧於草地上，而頑皮的孩子就是喜歡爬爬樹，這些活動都是那麼地安逸尋常，至少，就沒有誠惶誠恐的保安員跑過去查問一番。看到巴塞人可以這麼充份享受公園時，我想與其驚訝於「他們為什麼可以充份享受公園」，倒不如質疑「我們為什麼不可以充份享受公園」吧！

這種對人民信任，無為而治的設計，也不是每個時期的巴塞政府都能掌握到竅門的。位於新區的公園Parc del Centre del Poblenou，便常常為人所疚病，她擁有：冬冷夏熱（不銹鋼製）和狹窄的公共座椅、因枊樹枝節過長而阻礙視線的路徑、高高的石屎圍牆、無無謂謂的建設……當然還包括其高昂的造價，這一切一切，都與開放通透沾不上邊，更產生隔離感，讓人退避三舍。

其實，巴塞強差人意的公共空間設計，當中也有公營設施。在92年舉世矚目的奧運會後，巴塞希望再辦世界級的活動來帶動新一輪經濟動力，於是便於2004年辦了一個世界文化論壇（2004 Universal Forum of Cultures）。可惜的是，為了這次論壇而落成的The Forum Building，到頭來就只有在論壇期間運作過，之後雖然偶爾有滑板小子和塗鴉愛好者到來玩樂，但實際上，它可是連同附近的公共空間一起被丟空荒廢至今。其實由於它在設計之時並沒有評估和包融原有的社區和環境，因此在論壇過後，建築物不能持續運作實在應是意料中事。興建者只是很方便地將舊地移平，試圖興建一個漂亮的地標。可惜，由2004年8月11日英國衛報的報道ⁱ我們得知，這個由名家設計的大白象，天花已經開始脫落，談不上漂亮。

巴塞建築師翩奈（Carme Pinós），便指出公共空間設計的精粹，往往在於公共空間與鄰近建築物的關係之上。因此，如何由建築物（室內）過渡到公共空間（室外），两個空間的人民活動關係，才應該是建築師、設計師和城市規劃者的思考重點。翩奈亦指巴塞近十多年在新城區的建築設計，很多都未能滿足這方面的條件。以經濟考慮為本的推土式興建，去除了建築的人文理念，套翩奈的說法，這種興建或許根本不能稱之為「建築」，而只是一場興建遊戲。由巴塞公共空間設計的優劣例子，我們可以明白到公共空間設計對社會的重要性，並不在於提升經濟效益，而是在於令社會變得更適合人居住（livable）。

後記：

• 魯營球場（Camp Nou）很厲害，不單是場館這硬件夠浩瀚氣魄，就連軟件（現場氣氛、散場時的交通安排、措施）都是一流，再次証明，要軟硬件配合，空間的潛能才可全面發揮。
• 巴塞舊區的空間是以人的腳程為量度單位。人們都步行得很舒適。
• 巴塞公共空間（好像：廣場、公園和博物館等）附近的停車場，都收到地下（不會像蛋糕樓設計，用停車場把樓宇托高，使之和路面分隔）。減低樓宇高度，增加天空之餘，亦帶出了地面的人氣。
• 地中海文化其中一項便是日光浴，巴塞人作為地中海的一分子，當然亦十分喜歡陽光，因此，露台設施在巴塞的屋子設計中不是什麼侈偖品，而是基本配套。這就是由當地由本土文化而𧗠生的基本空間認知；反觀我們衣、食、住、行，四大基本需要，𧗠生了怎樣的空間需要？單是晾乾衣服一項，在香港就每天上演一幕幕奇觀了。
• 巴塞隆納位於西班牙，是受歐洲人歡迎的旅遊地點，但此地的旅遊區，都標榜本土文化與特式，米羅（Miró ）、畢加索（Picasso ）、高第（Gaudí ），就是他們的瑰寶；而且，沒有迪迪尼，也沒有模仿荷里活，硬要明星們的手印留在路上。對體驗文化為題的旅客，自然就不會有「怎麼和老家一樣」的失落。
• 其實，在遊覽巴塞之時，我時常都感到巴塞和香港之間有很多東西可以相互借鑑：舊區的空間感、新區建築設計的爭辯、本土文化保育問題、旅遊化和全球化的挑戰等。各位到訪巴塞時不妨多留意。
• 生活在都市的人很容易忘記了其實都市中的一磚一瓦都不是自然而來，而是人為工程建成的，因此，我們應對城市空間保持想像，而不是妥協。
• 現代的機器雖然愈來愈先進，但這不應與清拆和興建的密度掛鈎，先進的機器應該用來製作更適合人居住的環境，以持續性為依歸。

http://review.redboxstudio.cn/2010/04/conversations-space-and-art-in-hong-kong/