Zoekresultaten

A vivid portrait of a versatile Amsterdam Zuidoost

Developing a research approach from Amsterdam Zuidoost. We are committed to using our presence in the area to contributea) continuing promoting interest in, and acquiring knowledge of, Zuidoost; b) respecting and embracing its versatility and c) eliminating barriers in its layout.In all three elements, we adopt the metaphor of a guided tour that provides a physical and mental map to share. We relate such a map to anexisting tradition of what we like to call ‘translators’ of the area, people suchas guide Jenny van Dalen, or architect Peter Dautzenberg. These are peoplewho recognised the beauty of places such as the Bijlmer before others, andwho taught many to appreciate (and conserve) them. In this sense, theirwork has contributed to a revalorisation of Bijlmer heritage and to a morewidespread awareness of its value.However, there are also concerns that this revalorisation could result inexcessively lucrative operations that may be detrimental to the currentresidents of Zuidoost. The renovation of the Amsterdamse Poort and thetransformation of the emblematic ‘Zandkasteel’ (Sand Castle) building intoluxury apartments has been met with mixed feelings, as these works couldaffect accessibility and increase prices throughout the area. More than ever,especially in relation to point ‘b’ above, concerted efforts need to be made toensure that investments will improve collective public spaces and will buildon an inclusive and diverse cultural and historical awareness.More specifically, The Bijlmer has now acquired legitimacy and cannot simplybe demolished. Its history is also linked to the many newcomers that broughtnew rhythms to the city of Amsterdam.We are convinced that Zuidoost’s sustainable plans and metropolitanambitions will only succeed if they also include, reflect upon and safeguard this versatility.In cooperation with Carla Hoffschulte

Prevalence and risk factors of MTTS in PETE students

Jeugddans en kindheid van denken: dansend denken?

Kindheid van denken is speels maar ook ernstig. Ze gaat uit van diepgaande ontvankelijkheid voor dat wat niet ‘gehoord’ wordt. Daarmee betreft ze iets ‘onbestemds’, iets dat niet alleen in de kindertijd maar ook in de volwassenheid schuilgaat. ‘Kindheid’, in het Frans enfance, komt van het Latijn in-fantia, letterlijk: ‘niet-sprekendheid’. Onze manier van denken en spreken, al onze tweedelingen en ordeningen, worden altijd ook bestookt door die kindheid. Door wat slechts gevoeld, maar niet gezegd of gehoord kan worden. De sprakeloosheid. Van het gevoel zelf, dat slechts gevoeld kan worden. Vanuit het differentiefilosofische perspectief schiet de mens met zijn tweedelingen en ordeningen altijd te kort. En ‘kindheid van denken’, te beginnen met ons besef ervan, creëert ruimte voor het aanvoelen van en inspelen op nieuwe mogelijkheden. Een dergelijke ontvankelijkheid voor het nieuwe, buiten allerlei bestaande kaders, of er dwars doorheen, is in de kunsten cruciaal. Een pleidooi voor meer ‘kindheid van denken’, voorbij alle denken in tweedelingen, betekent daarom ook altijd een pleidooi voor de veelheid en het experiment.

Club-wise, a theory of our time

Meet the club-goer. Today he woke up thinking that, compared to the typical weight of his miseries, the day feels quite light. Upon waking up, he suddenly decided to go to the club tonight. Prior to this happening, he makes a pact with himself to do his duties: deliver to society and eat his meals. Perhaps even go for a little run? The thought of running charms him immediately, and the next thing we see is him running. As he runs by the secondhand shop, his thoughts begin shuffling the colors of classic logos: Hip-Hop, happy meals, all MTV channel extensions, Vans shoes purchased every six months. Although he is not a big fan of retromanic gestures, the club-goer wouldn’t mind wearing a logo – or two – in the club tonight. Just like before, he could commemorate his teenage years with someone who would empathize with the logo.

Low-literacy Part 3

Education plays a major role in this paradox: the cultural diversity that is increased by immigration is eliminated by successful education: education aims to maximise the opportunities for every child within the emerging global culture and thus reduce cultural diversity. The road from the Enlightenment that would bring us a better world is increasingly proving to be a dead end, especially with regard to the climate and the depletion of the resources the planet can provide (ecology). Just now that a global culture has emerged into which all those other cultures are assimilated, the question is whether cultures that deal more sustainably with ecology and have problems accommodating to global culture, should not be given more voice in the transition to a more sustainable global culture. It is argued that in popular music forms an example in which successful productions have a multitude of cultural styles, from world music to hip-hop to rock. In fact, almost everyone from various cultural backgrounds can relate to a certain style. Pop music therefore does not necessarily work as an institution that reduces diversity. Education does just that, unconsciously, and often with extensive inclusion programs. She could learn from pop music!

Exploring and exploiting and why we always end up with the Beatles

It is argued that pop music has long been locked up in the exploitation phase. Boring, more boring and even more boring seems to be the motto, and only extreme, as now boring monotonous hip hop from Chicago / London - called drill - in which "respect" is enforced by the real killing in quarrels between rival gangs, explores the border. For the rest, contemporary pop music is exploitation, until we learn to listen differently to the many talents that remain undiminished and we grant them the adventure of musical or scientific exploration.