This is the second in a two-part guest post by Bea Moyes, who is an independent researcher based in East London. Having completed a Masters in Research at the London Consortium, Bea is working on ongoing research into the history of East London since the 1970s. Her work has often considered histories and narratives of urban space, particularly through the act of walking the city, and with dynamic and creative interactions which are generated in public spaces. She tweets
The first post can be found here
Michel De Certeau’s argument on the relationship between strategic powers and tactical resistances, has interesting implications in the history of the metropolis, and to the way with evolve our cities today. In pre-urban agrarian society, tactical resistances were common, with those without land re-appropriating resources in activities like poaching, gleaning and scrumping. These social and economic rituals were well worn valves of everyday life, oiling the relationships of power between masters and workers. However, during the industrial revolution, and particularly with the increasing organisation of power relations with urbanisation and land enclosures in Britain, this dynamic interplay became largely disconnected, contributing to the break -up of community structures which had existed before. This is obviously a simplified analysis of social networks between classes over nearly two hundred years, but it is surely no coincidence that during the nineteenth century in Britain, there was considerably unrest and protest by the urban working-classes.
In my own work researching the history of East London, (more…)
What happens if some people decided to take control, in different ways, of their own images taken in public space by the millions of CCTV, by becoming conscientious actors and protagonists of the never ending film of the city (in London, there are more that half million of CCTV, 1 every 14 citizens)? What if some people started reclaiming, under the Data Protection Act, their own ‘performances’? To the extent, for instance, of making a music video, or an art installation? Or even a youth community project in alternative media practices thanks to ‘video sniffing’, that is, the hacking of loose digital videos from unencrypted cameras and their remixing. With a bit of poetry, we might even think to drifting through the policed city following the unpredictable waves of ethereal signals (a la Surrealists).
Media commentators are quick at condemning the increasing practice as illegal, but this is at very least a gray area: who does my picture, captured in public space, belong to? Whatever the techniques, it seems clear to me that what is at stake here is the narrative of CCTV as uncomplicated and self-evident. On the other hand, media and criminologists (alongside the expanding industry of the digital surveillance systems) make no mistake on the goals of this unprecedented mapping coverage of the urban population: the ideological and politicized program of urban restructuring must go on in the name of a “safer” public space.
Mike Raco on gentrification (psu.edu free pdf)
Hille Koskela on video-surveillance (psu.edu free pdf)