Margaret Fontaine

6: Reading Response: How Urban Design can Make or Break a Protest

In 2020, Peter Schwartzstein published an article in Smithsonian Magazine titled “How Urban Design Can Make or Break Protests.” Schwartzstien often works on geo-political issues and consults with UNICEF; however, he is also a “semi-regular” contributor to the history stories within Smithsonian Magazine (Schwartzstien). Within his article, Schwartstein analyzes how the design of a city impacts the ability of protests to form. Schwartzstein, in particular, notes how the layout of a city either encourages or discourages the formation of large groups. The cities designed with large, open areas for pedestrians enable protest as they create numerous sites for congregation. Mainly, they create easily communicated spaces and can support large gatherings. The example Schwartzstein provides of this is Cario and the 2011 Arab Spring revolutionaries (Smithsonian Magazine). However, as Schwartzstein counters, cities that lack these areas discourage protest as they are not accessible locations or routes for people to move about. To highlight this concept, Schwartzstein provides New York as an example. As a visual illustration of these ideas, the images below contrast what protests look like in both cities.

All Images Courtesy of: Magazine, Smithsonian. “How Urban Design Can Make or Break a Protest.” Smithsonian.com, Smithsonian Institution, 29 June 2020, https://www.smithsonianmag.com/history/geography-protest-how-urban-design-can-make-or-break-people-power-180975189/.

One component of Schwarzstien’s article that is particularly interesting is the questions he raises about how intentional these consequences may be. Namely, Schwarzstein notes that, while cities usually aren’t initially designed to be protest-proof, “myriad states have reworked traditional rally points so as to inhibit the emergence of large crowds” (Smithsonian Magazine). This commentary exemplifies the idea that political motivations can be behind the design – and changes to – of a city. Furthermore, this also expresses Schwartzstein’s concern that the modern political climate is working to restrict people’s ability to protest. Schwartzstein particularly alludes to this concern in his discussion of Washington, D.C. Originally, D.C. was designed to have broad avenues and many open areas. However, following 9/11, the city changed considerably; as Schwartzstein states, “new walls, new fences, and new barriers have isolated protesters from key government structures” (Smithsonian Magazine). One should note that the correlation to 9/11 is intentional. Specifically, this statement shows that Schwartzstein believes that terrorism is, at least partly, the reason why the atmosphere around protesting has changed. Even if these opinions are untrue, Schwartzstein’s observations show that city planning has shifted to be less encouraging of protests. This indicates that future generations will have an even more difficult time successfully organizing and protesting if these trends continue.

While this article is still incredibly recent, the past two years have only served to further emphasize the relevance of Schwartzstein’s thoughts. For example, climate change activists have been protesting for many years. Initially, these protests occurred in the highly traditional fashion of large groups walking through cities. These forms of protest still happen. However, the difficulties protestors faced here has led some activist to protest in different locations. For example, the Just Stop Oil group performed a protest by throwing soup onto Van Gogh’s “Sunflowers” painting and gluing themselves to the walls (Veltman). This group is not only using art as a form of protest; however, the increase in the frequency of these unusual protests reframes Schwartzstein’s article. If cities are truly being redesigned to discourage protest, will that result in an increase in these less traditional forms of protest? This correlation also leads to one question how such a shift will influence the effectiveness of demonstrations? Ultimately, the answers to these questions will not be known for some time, but asking them now will allow discussions around protests to be more self-reflective. 

Word Count: 579

Works Cited

1. Magazine, Smithsonian. “How Urban Design Can Make or Break a Protest.” Smithsonian.com, Smithsonian Institution, 29 June 2020, https://www.smithsonianmag.com/history/geography-protest-how-urban-design-can-make-or-break-people-power-180975189/.
2. Schwartzstein, Peter. “Bio.” Peter Schwartzstein, http://pschwartzstein.com/bio/.
3. Veltman, Chloe. “Climate Activists Have Been Attacking Artworks Recently, but How Effective Is This?” NPR, NPR, 28 Oct. 2022, https://www.npr.org/2022/10/28/1131912007/climate-activists-have-been-attacking-artworks-recently-but-how-effective-is-thi.

5: Reading Response: Where to take a Study Break on Campus

“Where to take a study break on the college campus: An attention restoration theory perspective” is a research paper by Gary Felsten, an associate dean and psychology professor. Notably, Felsten works at Indian University-Purdue University Columbus, where he coordinated with students to collect data for this paper (IU News). In this work, Felsten analyzes effective study habits through the attention restoration theory (ART). This theory focuses on the idea that attention is a voluntary skill that demands effort to create focus (Felsten 160). This theory further establishes that such effort makes attention vulnerable to fatigue, and outside variables can increase the longevity of their focus. Subsequently, Felsten’s study correlates this influence with the effectiveness of a college student’s focus. This correlation was analyzed through a survey where college students rated, on a 7-point scale, how relaxed and efficient they thought a study space would be. This survey contrasted three study spaces: rooms with white walls, rooms with windows, and the same rooms with walls digitally edited to have images of nature. Holistically, Felsten concluded that students preferred rooms with natural murals and were least inclined to rooms without any nature (Felsten 166). Samples of the images used in this research can be seen here to illustrate Felsten’s work better.

All Three Images Courtesy of: Felsten, Gary. “Where to Take a Study Break on the College Campus: An Attention Restoration Theory Perspective.” Journal of Environmental Psychology, vol. 29, no. 1, 2009, pp. 160–167., https://doi.org/10.1016/j.jenvp.2008.11.006.

One interesting detail from Felsten’s research is the influence of water on attention. Prior to Felsten’s study, previous research on ART had noted that ratings for perceived restorativeness were highest in nature scenes that contained water. Thus, Felsten diversified his digital murals so that some would have water and others would not. The result was that “murals of waterfalls or panoramic ocean views were more restorative than settings with murals that lacked water” (Felsten 166). This expansion of likely details implies that the theories of ART accurately reflect student mindset beyond overall ideas. Consequently, this implies that both schools and students can utilize research on ART not initially applied to education. However, it should also be noted that research specific to education can provide further and more nuanced understandings. This is exemplified in how students reacted to the rooms with windows to the outside. At the time of the study, it was fall, and windows overlooked barren trees with little greens. Felsten initially worried that this lack of luscious nature would decrease the ratings of those rooms. The results, contrastingly, showed that these rooms “retain restorative properties, especially when the presence of built structures was minimal” (Felsten 166). This result, in coordination with the data regarding waterfalls, creates a more subtle understanding of how students interact with nature. Namely, while their relation to the specific elements of a view aligns with ART, the presence of nature, in general, has a substantial impact on how students view a space. This implies that any ART research can be used to improve the education system, but studies focused on education can provide the most exhaustive data.

While this study was published in 2009, it has been followed by an increase in conversations about the education system. These conversations primarily concern how schools impact a student’s mental health. This is reflected in the increase in papers on outdoor learning programs. For example, a 2022 research paper by Leslie Solomonian discusses that outdoor learning benefits teamwork and mitigates students’ anxiety (Solomian). From this increased focus, one can observe that Felsten’s work has become part of a larger and more meaningful discussion. Thereby, there is a higher demand for the information provided in this paper and the expansions Felsten proposes at the end. 

Word Count: 586

Works Cited

1. Felsten, Gary. “Where to Take a Study Break on the College Campus: An Attention Restoration Theory Perspective.” Journal of Environmental Psychology, vol. 29, no. 1, 2009, pp. 160–167., https://doi.org/10.1016/j.jenvp.2008.11.006.
2. “Gary Felsten.” IU News, https://news.iu.edu/live/profiles/291-gary-felsten.
3. Solomonian, Leslie, et al. “Effects of Outdoor Learning School–Based Education Programs on Pediatric Health.” Natural Medicine Journal, National Medicine Journal, 2 Mar. 2022, https://www.naturalmedicinejournal.com/journal/effects-outdoor-learning-school%E2%80%93based-education-programs-pediatric-health#:~:text=Outdoor%20learning%2C%20in%20particular%2C%20has,%2C%20focus%2C%20and%20cognitive%20functioning.

Co – Authored with Alex Deihl

Introduction

Why this Space:

Notes

1. Purpose For Students:     
   1.  Break in the geometric skyline of the surrounding buildings and classrooms.
   2. Subliminal Inspiring a sense of creativity.
   3. It provides the mind with something to lack/focus on while daydreaming or staring into space.
   4. Due to its large size, the sculpture physically takes up otherwise empty grass space, discouraging students from loitering in this area to make the clough entrance less congested. 
   5. In contrast to the nearby Tech Green, this statue interrupts the vast open green space surrounding it. Thus, this area and how it could be used is limited.
      1. Example: Tech Green would be a great place to play catch/frisbee or sit around and talk. However, the scale of Koan discourages one from playing catch/frisbee in green space. In contrast, the steps and paved area do not discourage one from sitting around and talking. 
2. Purpose For Prospective Students:
   1. Shows that GA Tech is an attractive/pretty place to live
      1. Encourages students to see themselves not only at Tech but enjoying themselves
   2. The unique story of posthumous placement creates a stop on tours.
      1. Emphasizes the idea that GA Tech is not a cold and heartless tech school
      2. Visualize exemplification of the idea that GA Tech is also a school for creativity
      3. Visualize the three pillars of Georgia Tech students and how they each support each other: knowledge, creativity, research
   3. During the summer, this area also serves as one of the primary drop-off/pick-up location for young students (and their parents)
      1. Helps GA Tech stand out in the memory of both the students and the parents. Particularly when it comes to thinking of schools to apply to in years to come
3. Purpose For Donors:   
   1. Example of one way to contribute to Georgia Tech 
   2. Photo opportunity for special events and guests
      1. The paved area also serves as a space where events can be hosted that provides a unique background for photos
4. Purpose For Artist:
   1. Subliminal Goal: inspiring a sense of creativity
      1.  An attribute that Portman believed all engineers should have 
   2. The sculpture is also a way for him to leave his mark on some of America’s most talented up-and-coming minds, prolonging his legacy.

Works Cited

McCann | WABE, Adron, and Adron McCann. “Atlanta Architect John Portman Has Final Sculpture on Display at Georgia Tech Posthumously.” WABE, WABE, 8 Sept. 2021, https://www.wabe.org/john-portman-koan/.

4: Reading Response: The History of Sampling with Chris Read

Chris Read is an artist and head of content for the WhoSampled website. In his professional career, he has produced, remixed, and DJed for various British groups. This includes numerous awards and hosting one of the UK’s largest hip-hop events (WhoSampled). In “A History of Sampling,” Chris Read hosts a seminar about the history of sampling and how it influenced the hip-hop genre. First and foremost, Read explains how sampling began with the turntables. This technology allowed DJs, in what was then a live performance art, to jump between songs and create new music. This type of music and the performance of creating it continued to develop with new techniques and famous artists. Moreover, over time, this technology developed into sampling machines. These were noticeably different from turntables as they allowed more samples to be played simultaneously and for longer periods. Consequently, the limitations for what music could be created significantly changed. 

In tandem with these technological developments, how music utilized sampling changed as well. Throughout all genres of music, sampling was becoming a more and more common practice. Modern musicians all use sampling, and, in some instances, they will sample music that is sampled from other music. This pattern creates unique and interesting ‘chains’ of music that developed from one another. However, one should note that technology-enabled sampling became commonplace in modern music but did not create sampling. The idea of blending, copying, and altering the music of others to create something new has existed for centuries. Read himself provides an example of this in his seminar. From 4:00 to 5:03, Read presents an example of Beethoven mimicking the music of others. The specific piece he presents is a remix piece that Beethoven did call “Diabelli Variations.” An audio recording of this piece has been linked below. This piece serves as a collection of 32 different variations that Beehathoven wrote based on Austrian composer Anton Diabelli (Encloypedia Britannia). By providing this example, Read highlights the idea that modern technology and recording capabilities made sampling easier; however, the art of reusing music that had already been created existed long before the technology.

Furthermore, beyond changes to music as an industry, sampling technology also developed the new genre of hip-hop. Hip-hop, at its roots, is simpling recordings of those same live performances that began on the turntable. This first of these records, as Read plays from 15:03 to 15:29, is ‘Rapper’s Delight’ by the Sugarhill Gang. This song was unique because to make the music sound like it did at the clubs, there was a band that played the altered version of the music that the rappers then sang over. In contrast, when technology expanded the sampling abilities, artists could record the music as it would have been performed. This changed hip-hop music such that the records could be more complicated and more ‘true’ to the original inspirations. One should also recognize that the changes to technology changed the techniques through which music was created and allowed for more variation between records and arts. Hollsitically, because hip-hop developed from a performance art, the ability to record and recreate this in a studio depended on the available technology. Similarly, technology also changed the art of live performance and how it interacted with recorded music. 

As sampling developed, both in abilities and popularity, it altered conversations in the music industry. Specifically, the increased use of sampling sparked more complicated legal discussions within the music industry. As an art form, music has always developed and branched off of itself. Everything in music takes inspiration from that which came before it. Thereby, sampling becomes an integral and natural part of the creative process. Contrastingly, as a job, musicians are dependent on their individuality and copyrights. This creates two conflicting goals within the industry. Subsequently, the legal conflicts that can arise when these two goals are pivoted against one another can be long, complex, and, in some ways, unsolvable. These legal cases also raise a more abstract question. Who owns the music to begin with? The creation of music is a long and strenuous process that involves numerous people. The legal cases behind sampling depend entirely on those who own the music determining that their music has been wrongly copied. As a result, the current poor definitions of who owns music means that who has the right to start legal actions is contested. Ultimately, using sampling, while natural in music, creates complicated discussions on what legal lines are fair to artists.

Works Cited

“Chris Read.” WhoSampled, https://www.whosampled.com/user/Chris-Read/.

“Diabelli Variations, Op. 120.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/topic/Diabelli-Variations-Op-120.pointblankonline.

“A History of Sampling w/ Chris Read (Whosampled) at Point Blank London.” YouTube, YouTube, 10 May 2017, https://www.youtube.com/watch?v=SZGobMX9I48.

3: Reading Response: ‘Bleep!’

‘Bleep’ is a 40-minute-long episode from the 99% Invisible podcast. The audio itself is paired with a digital article that, while it is not a direct transcript of the episode, uses text to highlight certain key ideas from the podcast. Moreover, the article also embeds the videos that are heard on the podcast. Thereby, while the podcast is a strong source on its own, analyzing the ideas expressed in both audio and article allows one to see, read, and hear the ideas of the podcast. The episode is hosted by producer Chris Berube, who worked at the Guggenheim Museum and on the ABC News ‘The Dropout’ podcast (Berbube). In the ‘Bleep’ episode, Berbue speaks with numerous experts ranging from professors to entrepreneurs to community councilmen. 

Through the episode, Berube focuses on analyzing the history of the ‘Bleep’ sound in media and radio. This includes its technical development and its cultural impacts. Of all of this analysis, Berube emphasizes the idea that the sound’s repeated use has altered its use and meaning in today’s culture. Specifically, the podcast address how the sound is now treated as synonymous with the curse words it was originally meant to hide. This correlation has become so strong that modern media uses the sound for comedic effect without implementing actually foul language. Thus, Berube opens up conversations about whether or not the Bleep sound remains an effective way to censor media.

To fully understand this commentary from Berube, two key perspectives exist to analyze. Firstly, one should note Berube’s conversation with Tim Winter, a Parents Television and Media Council member. The entire conversation with Winter, including background on the council itself, spans from 16:30 to 19:00. During this interview, Winter states that using the Bleep is “no earnest effort to … make sure the program doesn’t violate indecency standards … you are almost adding it back in and adding emphasis to to” (18:10 to 18:30). Through this statement, Winter is emphasizing how the repeated use of Bleep has negated its ability to hide the presence of swear words. Winter also focuses on how noticeable the Bleep sound is, which ensures that the viewer notices the presence of something being bleeped. Through this, Winter is highlighting the idea that, while some censoring is better than none, there are more subtle ways of sensors that keep the overall shock of profanity from being in the text.

This conversation with Tim Winter introduces an argument against the use of the Bleep sound as it negates the original goal of censorship. However, a counter to this perspective argues that censoring language isn’t necessary anymore. From 19:10 to 20:10, the podcast discusses how societal standards around swearing have changed. This includes commentary on how, following looser restrictions in FCC, “most stations don’t bleep words like bitch or ass anymore” (19:46 to 19:51). This emphasizes how, as the culture around swearing changes, so does the expectations for censorship in media. Subsequently, the necessity of any language censorship is called into question. To further emphasize censorship is not as necessary anymore, Berube also provides examples of how the Bleep sound is used comedically with no true focus on the words being said. This is especially noticeable in the video clip, where segments of bleeped-out sound are entertaining because they are bleeped, not because the viewer has any idea what is being said. 

Ultimately, the idea that the Bleep sound is ineffective at hiding the presence of swear words leads to two perspectives. One perspective is that new censoring methods need to replace the Bleep, while the other is that censoring is not as necessary anymore. The presence of these two countering perspectives leads to an interesting observation about cultural shifts. Namely, one perspective implies a desire for media to reflect reality. The contrasting perspective illustrates a desire to continue creating media that portrays an idealized version of reality. These differences indicate two different preferences on art imitating life or life imitating art. Furthermore, these two observations also lead to the question of which perspective creates more influential art. When artists attempt to use the media to start conversations and spark societal changes, how does censoring language influence the results? Does an unrealistic world where foul language doesn’t exist encourage the audience to view these characters as examples of the best of the best? Or do characteristics who speak with commonplace profanity serve as a more attainable example of minor flaws in a wholly good person? Answering this question may shift how people think about censoring and whether or not it improves media in addition to filtering it.

Works Cited

Berube, Chris. “Bleep!” 99% Invisible, 1 Jan. 1970, https://99percentinvisible.org/episode/bleep/.

Chris Berube, https://www.chrisberube.com/.wildobxhorses.

“Buster Cursing.” YouTube, YouTube, 22 Aug. 2010, https://www.youtube.com/watch?time_continue=5&v=gmhEXjM7iTw&feature=emb_title.