3 research outputs found
Don't call me urban!
No full text"Don't Call Me Urban!" is the definitive contemporary documentary record exploring one of the biggest social issues in the UK - drug use, the wayward behaviour of deprived black (and white) youth - it is the only book to give an unbiased account of a significant and vibrant genre of music in the UK and abroad. The pictures in Wheatley's book are unique and, unlike similar books, feature ordinary people as well as the people that have emerged to bring the ethos of grime to the attention of a wider audience. The book analyses the culture of 'grime' that has burst out of London's decaying council estates over the past decade. Although ostensibly a genre of 'urban' music, acknowledged as the UK's answer to hip hop, the author sees 'grime' as an era when youths living in these deprived areas began to behave in an increasingly wild manner. These youths live a fantasy largely based on an 'urban' culture imported from the USA, where Simon believes rap music has degenerated from an originally 'conscious' base to one in which the 'gangsta' strain that emerged in the late 1980s/early 1990s is now dominant. "Don't Call Me Urban!" seeks to cut through the perceived glamour of 'urban' culture and document through photographs and stories what is the social reality of being black (and white) on a London council estate, where 'urban' music - specifically the culture of emceeing and rapping - has become a standard means to communicate and express feeling. The mindless postcode warfare that now plagues London, and is the cause of many of the sudden wave of teenage killings, can be seen to have roots in the confrontation of east and west coast in US hip hop. Simon Wheatley gained the trust of the key figures in the grime culture who allowed him to capture the harsh elements of the street with its raw violence and drug taking as well as the more intimate and tender moments of their lives. The portraits and commentary from the likes of Dizee Rascal, Wiley, Jammer, Skepta, Fumin', P Money, Flirta D and Kano make "Don't Call Me Urban" a contemporary and definitive account of a culture which remains a frightening mystery to many. The title takes its inspiration from the objection to the word 'urban' that many black youths feel
The Production of Urban Public Space: A Lefebvrian Analysis of Castlefield, Manchester
No full textThe aim of this research is to unravel and interrogate critically the recent histories of the production and reproduction of Castlefield, Manchester. This unravelling is accomplished theoretically through the historicised application of Lefebvre‘s spatial triad. Production of space histories and Castlefield‘s 'regeneration‘ are revisited principally through archival and interview evacuations of the neglected years of the 1970s. Urban public space is seen as the key city synecdoche. The thesis argues against what is called the 'dominant academic narrative‘: challenging the narrative where it ignores or downplays the role of counter-representations and counter-projects in the production of urban public space. The empirical research is based mainly on archival data and complimentary interview and visual data; the analyses are qualitative. Visual representations of space largely neglected in the literature are foregrounded throughout the empirical research. Spaces of representation and spatial practice are interrogated from the perspective of public space analysis which emphasises the importance of the contested nature of representations of space within the public sector and the vulnerable and unstable character of some official representations of space. The thesis therefore does not seek to reproduce what might be called a 'traditional‘ Lefebvrian analysis which counter-poses repressive official representations of space against quotidian heroic, poetic spaces of representation. The research challenges oversimplified characterisations of Castlefield as a space simply of heritage, leisure and exclusive residential enclaves. A dynamic, complex spatial portrait is revealed whereby ludic, 'natural‘ and abstract space rise and fall though intricate spatial layering as time unfolds. Urban differential space and ludic space are found to emerge through the interstices of abstract space as key outcomes of the contestation of space. The thesis concludes that the potential for differential urban public space exists through the production of new spaces and their diverse politicised appropriation
Public Archaeology in a Digital Age
No full textThis thesis examines the impact of the democratic promises of Internet communication technologies, social, and participatory media on the practice of public archaeology. It is focused on work within archaeological organisations in the UK in commercial archaeology, higher education, local authority planning departments and community settings, as well the voluntary planning departments and community settings, as well the voluntary archaeology sector archaeology sector . This work has taken an innovative approach to the subject matter through its use of a Grounded Theory method for data collection and analysis, and the use of a combination of online surveys, case studies and email questionnaires in order to address the following issues: the provision of authoritative archaeological information online; barriers to participation; policy and organisational approaches to evaluating success and archiving; community formation and activism, and the impact of digital inequalities and literacies. This thesis is the first overarching study into the use of participatory media in archaeology. It is an important exploration of where and how the profession is creating and managing digital platforms, and the expanding opportunities for networking and sharing information within the discipline, against a backdrop of rapid advancement in the use of Internet technologies within society. This work has made significant contributions to debates on the practice and impact of public archaeology. It has shown that archaeologists do not yet fully understand the complexities of Internet use and issues of digital literacy, the impact of audience demographics or disposition towards participation in online projects. It has shown that whilst recognition of democratic participation is not, on the whole, undertaken through a process of actively acknowledging responses to archaeological information, there remains potential for participatory media to support and accommodate these ideals. This work documents a period of great change within the practice of archaeology in the UK, and concludes with the observation that it is vital that the discipline undertake research into online audiences for archaeological information if we are to create sustainable digital public archaeologies
