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2016-02-01 21:53:41
An Inquisition of the Italian Life, the photo comprises of a spontaneously ordered set of directions, clock, window and Italian that would otherwise be unknown to the common traveller. Probably shot in at intersection, the still objects talk about what is prized within the local community there, and what they can offer as the notion of public goods. I think we can all agree that tourism is that of a voyeuristic and exploitative nature- and this picture happily frames the inquisition of a tourist. Nearly a retrograde motion to the information age of the current era, the photo represents an era of public information that can be what consider obsolete. Yet, one would constantly still see directions, signs, and clocks still placed clearly in public spaces- as if no one had a smartphone that already combined both functions into the single hand of a consumer. The collective values of the society seem to be unperturbed by the information age, a form of stickiness to the culture of the past, of reliance on public time and directions. In the face of the information age, and huge transnational migratory patterns, and heavy interconnectedness between countries- what is a good functional language? Languages are not necessarily functional, and in this case- it serves to prove a point. Tourism is strong bastion of the Italian economy, in 2015 it comprised 10% of the country’s GDP(4). Language remains as a strong bastion for culture, and arguably- Praxis (3)- Italian language and culture is treated as knowledge, a marketable commodity as we can see from the numerous Italian cuisine choices that penetrate all manners of socio-economic classes around the world. Interestingly, even signs for tourists- are left in Italian: with words “Museo” or even the heavily understood “Biennale” that one would understand with a decent command of English. The power of the language through the vehicle of culture is clearly emphasised here. The imaginary world of the tourist is just the combination of identity, space and narrative (2) and is essentially a “chronotope” (1)- a physical arrangement of time and space into physicality. As a result, there is constant physicality to the antiquity and culture of the place- the themed space further emphasises the space to be presenting meaning. Like a theme park, this picture of the Florentine Window essentially allows fully for a tourist to experience something out of what one can do in modern urban life. Culture is reemphasised by the clock, even though one could argue in its functionality; it is clearly an adequately designed clock with roman numerals- instead of Arabic numerals. A consistent appeal to tradition, be it on purpose or not; clearly defines the tourist view of the Italian culture, and further emphasises the power of it. A combination of many stories, and alternate forms to that; this photo essentially shows a very calculated, invested motion towards the propagation of culture through an appeal to tradition. Thus, what we are viewing, is a deliberate stop in time, and perhaps- more appropriately: A Tourist’s Inquisition of a Foregone Italy. (1) Clifford, James. 1997. Routes: Travel and Translation in the Late Twentieth Century.Cambridge, MA: Harvard University Press. (2) Graburn, Nelson H. H., and Noel B. Salazar. 2014. Tourism Imaginaries : Anthropological Approaches. New York: Berghahn Books, 2014. (3) Riley, Philip, Language, Culture and Identity (Continuum, 2007), (4) "Travel Tourism Economic Impact 2015." Accessed January 28, 2016. https://www.wttc.org/- /media/files/reports/economic impact research/countries 2015/italy2015.pdf
2012-01-24 17:25:23
Carnival is celebrated throughout the western world; it is particularly famous in New Orleans. What immediately comes to mind is the stark contrast between the white-faced images of the Venice festival captured here, and the pictures of those stranded in New Orleans in the wake of Hurricane Katrina, most of who were African American. Indeed, when I think of New Orleans’ most famous event, I think of whiteness; of white faces partially hidden by masks and masks painted white. Who would ever imagine in examining Mardi Gras, in its organization, in its media representation, in its exclusivity, in its old-line krewes, that New Orleans is 70% African American? Understanding the dynamics driving the way that Mardi Gras is constructed may very well provide a map for interpreting the post hurricane images that continue to haunt us.