Sul palco Thurston e Lee stanno incrociando guitars as two Musketeers in a duel defining moment, Kim is lost in concentric worthy of a dervish dances, while the volcanic, a little 'sickly but always in the forefront, is perched on the comfortable chairs of red velvet, and probably hoped that not fall on his head or Chinese wild pieces of gilded stucco because of the noise. Thanking
a collegiate manager or just used a little expert, Sonic Youth are holding their second concert in the Shanghai Concert Hall on Chinese soil. He goes into a scene of numerous, intriguing and contradictory events of contemporary Shanghai: Sonic Youth is one of the most famous, influential and noisy rock band in the world, the heroes of the indie scene roaring '80s New York, the Shanghai Concert Hall, built in 1930, before becoming an elegant concert hall was the site of Shanghai's most famous films of the thirties, of which the fine decorations are silent witnesses. It almost seems that, ironically, one of the most important of which is still recognized as the world's most famous metropolis, New York, to contribute in a city of historic temples of entertainment, to revive the glory of what was the city with the most exciting nightlife in the world, Shanghai, defined by Abbas as "a dream of Europe even more glamorous Than Europe Itself."
The game he is playing Shanghai at the global level to re-become a world city is played on several fronts: financial and urban are the two most obvious, but do not forget to third, equally important aspect, namely the construction of imagery and image city. The three issues are closely intertwined and interdependent, and often those choices that seem that they should cover only the urban policy, such as the transformation of modern lilong in gated communities, but have deep motivations and repercussions in the sphere of the collective.
Abbas, in his article Play it Again Shanghai. Preservation in the Global was, makes a clear analysis " Preservation in Shanghai, however, is motivated by something quite different from the usual pieties about “cultural heritage,’ given the city’s quasi-colonial past, could only have been ambiguous. It is motivated more by anticipations of a new Shanghai which will rival the old than by tender feelings for the old. In other words, preservation is not just a question of the past remembered, but something more complex: the past allows the present to pursue the future. So while the return of Shanghai to pre-eminence will depend in the first place on hard economic and political factors, it will also depend to some extent on memories of what the city once was, as it is the latter that will create the new Shanghai, as will and idea. As we shall have occasion to see, these memories are selective. If preservation in Shanghai has certain unique features, so too does development. Shanghai today is not just a city on the make with the new and the brash everywhere; it is also something more subtle and historically elusive: the city as remake. […]“Historical continuity”, then, is not a solution to the problems of the present, it is more a symptom of how the present appropriates the past for its own purposes. Only in a minor and ineffectual way does preservation in Shanghai ameliorate the excesses of a building boom. Its real importance lies elsewhere. Rather than being a corrective, preservation in fact contributes to Shanghai’s building boom in ways that require further analysis. In the first place, the economic importance of preservation cannot be underestimated. Invoking a continuity with a legendary past—no matter how ambiguous that past may be — enhances the city’s attractiveness, gives it historical cachet and, hence, allows it to compete for foreign investment and tourism on more favourable terms. It creates symbolic capital. At the same time, preservation may lead to the revitalization and gentrification of old, run—down areas of the city. The economic role of preservation can be even more precisely contextualized when we map it into the tensions inherent in China’s socialist market economy, which since late 1978 has created a private sector within a socialist state. This new private sector has consistently out—performed the state in the marketplace. In this context the state’s interest in preservation, via municipal policy; makes a lot of sense. It is an implicit assertion of the state’s involvement in and contribution to the future development in Shanghai, a way of mediating between the need of the state for legitimacy and the demand of the private sector for profitability. […] That last note on “culture” may perhaps be the most important, as it marks the site where China’s socialist market economy hooks up with the problematics of a global economy. If one of the negative tendencies of globalization is to blur differences, then any sign of “cultural difference” becomes a precious commodity. Preservation in the global era therefore assumes a new meaning. Globalization of the economy implies the importance of culture as itself a valuable commodity. Recreating Shanghai as a City of Culture then means, in an important sense, creating it as a series of spectacles that is marketable; and the spectacle, to recall Guy Debord’s classic formulation, “is capital accumulated to the point where it becomes image”. The spectacle of Shanghai produces a delirium of the visible that erases the difference between the old and new. The listed buildings on the Bund and the brand new skyscrapers of Pudong do not so much confront as complement each other on either side of the Huangpu river, because both “old” and “new” are simply different ways of recreating Shanghai as a City of Culture in the new global space. In Such A space, cultural and historical issues can be fused, and confused, with Political and Economic Interests. Because of this it is Precisely That was urban preservation in the global can not be seen as a Purely specialist concern, nor can it be seen in isola-tion from other urban and social phenomena. "
The city administration was aware of 'importance of symbolic capital in Shanghai has, and is resolutely oriented towards a re-ostentatious policy making, re-packaging. Feelings and nostalgia as metaphors, mirror, reflection, are highly topical, the Huang-Pu, following the incredible and rapid transformation of Pudong, has suddenly transformed from the eastern border of the city, major tourist attraction, the real axis monumental place of refined and complex interplay of historical and geographical references. In his paper that compares the different destinies of two cities as Moscow and Shanghai, Philippe Haeringer effectively summarizes these concepts: "Shanghai's folly is unquestionable, for it stems from a Clearly Identifiable public project. To produce in ten years one's futuristic double, starting from a situation ossified for More Than Half A Century, is no small task. The Fact That Took form as this new image on the east bank it Appeared to Be That Reflected back onto the west bank of the aging, Erasing it with equal haste, Makes it all the more exorbitant. As a result, ’pragmatic’ Shanghai was compelled to construct itself a fresh double in order to offer a real new environment to its basic population, too flesh-and-blood for this game of mirrors played with global stakes. This third Shanghai, constructed at the same time as the second, forms a sort of sensible thick solid concrete ring round the first. All this is the product of exceptional political determination that should evidently be ascribed to the persistence of a strong government, in this case Communist.”
Ciò che stupisce è proprio la determinazione e la consapevolezza degli amministratori. Nel suo Brodies report , Borges dichiara: “L’immagine della città we have in our mind is always a little late ", that the imagination often struggles to keep pace with the changing reality. Here, however, imagination and transformation chase and overtake each other constantly. In a megalopolis where there are still huge problems of urban planning to deal with, not without the simultaneous development of a policy that brings Shanghai to be a modern "City of Culture", not only to the preservation of the past, especially with respect to present and future. The ambitious objectives ("Better City, Better Life") for the Expo are an example, but also happens to come across statements worthy of Cedric Price and his battle for a lifelong learning . In 1999, Mayor Xu Kuando saw "Shanghai as a city learning to new ADAPTS Which Circumstances", then made this statement following a program that would dwarf the most progressive administrations Western
In the future,
• Learning will Become fashionable. Learners will be mostly self-directed.
• Learning will be a core function of the whole city. • City will
Authorities Establish an atmosphere for innovation. Innovation will be a corollary of daily life.
• Laws will guarantee the individual's basic rights to learn. Authorities will make use of a broad range of resources for learning-much More Than in other cities. •
learning organizations will be built in all parts of the city. Shanghai must
• Become an ecological and healthy city. In Addition, there must be a Harmonious Atmosphere Conducive to learning.
• Citizens Should Live in a Civilized and cultured manner.
• There must be openness and willingness to embrace multiple and advanced cultures in the context of an international city.
• Learners Should Be intrinsically motivated. Shanghai needs an inner motivation study system.
From what I see every day, in this case the imagination (or rather, the program) is somewhat ahead of urban life, but it would be great if the same speed that characterizes the physical transformation of the city were to be applied also to the increase and improvement of the possibilities offered daily to the public.
0 comments:
Post a Comment