Void street interfaces (VSIs) – building plinths with restricted visual interaction, accessibility, and public use – constitute an urban feature often associated with undermining the public domain, limiting free access and preventing interaction between social groups. Moreover, VSIs have been described as products of inequality designed to segregate and hinder integration between public and private urban spaces. This study assesses VSIs across six cities in Brazil, a country notable for its profound inequality and sociospatial fragmentation. The main aims of this research are: (i) to develop and test a predictive model for VSIs using socioeconomic indicators drawn from open-source ground-truth data; (ii) to identify the variance of VSI within selected case studies. In the development phase of the predictive model, data from the city of Recife are used to build the model. The testing phase involves the analysis of VSIs in the cities of Fortaleza, Salvador, Belo Horizonte, Curitiba and Porto Alegre. The model can potentially assist urban planners in better understanding and locating VSIs and mitigating undesirable outcomes.
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As I walk towards my home at night a wet surface of the pavement glitters in all shades of black, reminding me that I am surfing. Not just on the street, but on the endless glassy surface of the interface of this world. This is where I belong. The warmth of the reflection entangles me, mirroring that which surrounds me. The light and color, the movement and the thoughts of mine. A contentless surface that needs to reflect to exist, to have a meaning.
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As the revolutions across the Arab world that came to a head in 2011 devolved into civil war and military coup, representation and history acquired a renewed and contested urgency. The capacities of the internet have enabled sharing and archiving in an unprecedented fashion. Yet, at the same time, these facilities institute a globally dispersed reinforcement and recalibration of power, turning memory and knowledge into commodified and copyrighted goods. In The Arab Archive: Mediated Memories and Digital Flows, activists, artists, filmmakers, producers, and scholars examine which images of struggle have been created, bought, sold, repurposed, denounced, and expunged. As a whole, these cultural productions constitute an archive whose formats are as diverse as digital repositories looked after by activists, found footage art documentaries, Facebook archive pages, art exhibits, doctoral research projects, and ‘controversial’ or ‘violent’ protest videos that are abruptly removed from YouTube at the click of a mouse by sub-contracted employees thousands of kilometers from where they were uploaded. The Arab Archive investigates the local, regional, and international forces that determine what materials, and therefore which pasts, we can access and remember, and, conversely, which pasts get erased and forgotten.
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