Cultural/ Social Geography Flashcards

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1
Q

What is culture often thought of as?

A

Culture is often thought of as: “the artistic and intellectual product of an elite.”

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2
Q

What are four examples of what is thought of as “culture”?

A
  1. High Art (paintings, sculpture, drama, classical music, poetry)
  2. The stuff of museums, art galleries, concert halls and theatres
  3. Etiquette/manners, design, literature, sport (equestrian, fencing, sailing)
  4. Philosophy, ballet, public debate/speaking (politics), fine arts, travel etc.)
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3
Q

We use the word culture in two senses: (1) to mean a _______.

(2) to mean the ______

A
  1. Whole way of life–the common meanings (culture is a shared set of meanings that are lived through the material and symbolic practices of everyday life)
  2. Arts and learning–the special processes of discovery and creative effort.
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4
Q

“While anthropologists are concerned with the ways in which culture is created and maintained by human groups, geographers are interested not only in ___________ but also the reverse—_________.”

A

How place and space shape culture

How culture shapes place and space

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5
Q

Were the 1970s a good time for NYC? Give three reasons why or why not.

A
  1. The 1970s were a disastrous time for the city of New York. The city experienced its greatest loss of population (around 800,000 people –equal to the population of San Francisco)
  2. The city was $12 Billion dollars in debt - Basically it was bankrupt
  3. The city’s economic output fell by 20% and average incomes dropped by 35%
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6
Q

During the 1970s, NYC ________. A million people _________. A milllion people _______.

A
  1. Hemorraged jobs by the hundreds of thousands
  2. Left for the suburbs
  3. Stayed put and went on welfare
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7
Q

With people on welfare on the streets of NYC and the city decaying what happened?

A
  • Heroin flooded the streets
  • Muggings
  • Burglaries and armed robbery
  • The murder rate quadrupled
  • Diseases like measles and tuberculosis “staged a spectacular comeback in the city’s slums”
  • HIV-Aids settled in and drug users and prostitutes help spread the concern
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8
Q

New York was at the mercy of “Big MAC”. What is that? What happened?

A
  1. MAC (Municipal Assistance Program)

2. A blame game

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9
Q

What is the etymology of graffiti?

A
  • Graffiare/”scraffiare” (Italian): to scratch

- -graphein (Greek): to write, to inscribe

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10
Q

What is a tag?

A

The most basic form of graffiti, a writer’s signature with marker or spray paint. It is the writer’s logo, their stylized personal signature. If a tag is long it is sometimes abbreviated to the first two letters or the first and last letter of the tag.

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11
Q

What is a throwup?

A
  1. Over time, this term has been applied to many different types of graffiti. Subway art says it is “a name painted quickly with one layer of spray paint and an outline”, although some consider a throwup to be bubble letters of any sort, not necessarily filled.
  2. Throwups can be from one or two letters to a whole word or a whole roll call of names. Often times throwups incorporate an exclamation mark after the word or letter.
  3. Throwups are generally only one or two colors, no more. Throwups are either quickly done bubble letters or very simple pieces using only two colors.
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12
Q

What is a scrub?

A

A certain type of throwup (usually two colors) that is filled very quickly with back-and-forth lines, rather than filled in solid.

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13
Q

What is a piece/ fill in?

A

A graffiti painting, short for masterpiece. It’s generally agreed that a painting must have at least three colors to be considered a piece.

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14
Q

What is a mural/ blockbuster?

A

A large-scale type of piecing, done top to bottom on a wall; usually a large production involving one or two pieces and usually some form of characters.

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15
Q

Who was Tracy 168?

A

“the Shamrock mad scientist who invented the most intricate and arguably most important piecing technique of all time: the Wildstyle …”

one of the graffiti movement’s founding fathers . A prolific piecer/painter/bomber

Instilled a savage energy into the game, teaching whole generations how to prowl the lay-ups and the yards,

Pieces: 4,000
Tags: 15,000
Status: King

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16
Q

Who was Cay 161?

A

invented the now-ubiquitous crown icon

Was the first king to reign over the IRT subway lines, famed for his wanton destruction of IRT walls from 125th to 135th, not to mention Central Park’s Bethesda Fountain.

Frequently credited with the first masterpiece, or “piece,” in all of creation, at the 116th street station.

Pieces: 8
Tags: 5,000Status: Legendary King

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17
Q

Who was VFR?

A

Started writing graffiti in 1985, beginning small in the Lower Eastside, then slowly developing his repertoire, increasingly focusing his attention on bigger and better things; first it was streets, then trains during the last golden age of subway painting, and finally back on to the streets

His two-decade long siege of New York has earned him the nom de plume “the Black Guevara,”

Throw ups: 20,000-30,000
Tags: 20,000-30,000
Status: All City 17 times

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18
Q

What is a subculture?

A
Folk heroes
Traditions
Holy places
Devil figures
Rituals
Language/lingo
Style
Different types of tagging (surface, motion tagging)
Links to hip hop culture
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19
Q

What was the “dominant” culture’s reaction to graffiti?

A

“Ugly scrawling by moronic children”
“A symbolic assault”
“cowardly vandalism”
“defacing morons”
A source of confusion and anxiety (spraying over subway maps, station exit signs etc.)
A climate of lawlessness
A stepping stone to increased violence, criminal behaviour
A visible sign that the city is losing control
A spreading disease – from subways to monuments, to landmark buildings, to parks

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20
Q

Why would the city itself view graffiti as harmful?

A

If costs money to remove and control and it destroys the image of the city (makes it seem as if it is in disorder)

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21
Q

What was the “graffiti cultural war” about?

A

This culture war was not simply about MATERIAL CULTURE but it was about SYMBOLIC CULTURE – about notions of control, order and harmony.

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22
Q

What were some attempts to control graffiti?

A

Plainclothes squad/officers
Canine units
Home video cameras
Remote control infrared cameras
Secure freeway signs and bridges with razor (barbed) wire
Anti graffiti resistant coatings/acid washes (dubbed the Orange Crush after Agent Orange)
Anti-graffiti day – citizens cleaned up subway trains. Wipe out or clean up campaigns
Banning of spray paints to minors
Toll free telephone hotlines to report offenders
People were banned from possessing spray paint in public places
Provision of youth activities
Legal art programs
Education programs
Imprisonment (escalation of offense, fines, etc.)

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23
Q

Why do people do graffiti?

A

Assert identity
Defiance of social norms
A Reactionary Response (senseof isolation, being let down)
Seeking adventure, thrill seekers, an adrenalin rush
Risk taking (the very illegality makes it fashionable)
Everybody else does it (imitation, fad, fashionable)

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24
Q

What is a more nuanced understanding on why people choose to do graffiti?

A

-Political learning and messages
-Day to day chroniclers of urban life (and death)
-Alternative economic arrangements (underground economics – clothing lines, videos, spray paint, tips, museum contributions)
-Direct action of a different sort – challenging notions of representation, identity, meaning.
-It is a collective activity
It produces a collective conversation
-Symbolic interaction - Some of these kids are shut out of official channels of achievement … bombing or tagging allows them the opportunity to gain prestige, status, personal identity.
-Graffiti grants access - to parties, to relationships, social bonds, to a different sense of power
-It builds bridges/breakdowns ethnic barriers - diversity, multiethnic crews, a street level alternative to gang membership, participation in art sessions, the creation of piecebooks, talent pooling, trust
-It subverts authority
-It asserts the power of the individual
-It challenges the dominant dichotomy between public and private space – everywhere is free game for the tagger.
-Graffitists appropriate space – they make it their own, they claim it, they take it, reclaim it.
-It may contribute to blight and decay, it may alter perception, it may upset the assumed, but we could also view graffiti as a fine example of symbolic creativity, participation (democracy), a representation of vibrant, colourful, healthy, exuberant, lively New York City

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25
Q

Tags, like names, carry little or no semantic meaning. They are not messages. But Taki the messenger did have a message for the city, whether he knew it or not. He showed New York that the city was a ___________.

A

Blank canvas, an empty page. The medium was his message.

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26
Q

What is reverse graffiti?

A

Street artists tag walls (surfaces) by scrubbing them clean

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27
Q

What is culture?

A
  1. The body of customary beliefs, social forms, and material traits that together constitute a group of people’s distinct tradition
  2. A shared set of meanings that are lived through the material and symbolic practices of everyday life (a whole way of life)
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28
Q

What is cultural hearths?

A

The geographic origins or sources of innovation, ideas, or ideologies

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29
Q

What is a cultural trait?

A

A single aspect of the complex routine practices that constitute a particular cultural group

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30
Q

What is a cultural complex?

A

Combination of traits characteristic of a particular group

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31
Q

What is a cultural system?

A

a collection of interacting elements that taken together shape a group’s collective identity

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32
Q

What is a cultural region?

A

The areas within which a particular cultural system prevails

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33
Q

What is a cultural landscape?

A

a characteristic and tangible outcome of the complex interactions between a human group and a natural environment

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34
Q

What is cultural geography?

A

How space, place, and landscape shape culture at the same time that culture shapes space, place, and landscape

35
Q

What is contagious expansion diffusion?

A

Spreads through everyone, it doesn’t matter what their status or position is.

36
Q

What is hierarchical expansion diffusion?

A

Passes from very important person or place to an important person or place to a person or place low in social-economic hierarchy

37
Q

What is relocation diffusion?

A

Some members of a population physically go somewhere else.

38
Q

“A cultural landscape is fashioned from a natural landscape by a _______. Culture is the ____, the natural area is the ______. The _______ the result. Reading a landscape, therefore, provide[s] the geographer with a ________________.” (Carl Sauer)

A
  1. culture group
  2. agent
  3. medium
  4. cultural landscape
  5. window on particular cultures themselves
39
Q

What does the word “stadium” come from?

A

The word “stadium” comes from the Greek word for a measure of length called the “stade,” approximately 600 feet, which was the length of the most popular and probably oldest of foot races, the stade race.

40
Q

What did the Greeks believe?

A

The belief that the education of the body is central to the cultivation of the individual.

Link between muscles and morality (moral education)

41
Q

What was Circus Maximus (Rome)?

A

The Circus cleared for horse races by the Etruscan kings of Rome in the 6th century BC. Seating was added later.

42
Q

What does Maximus in Circus Maximus mean and refer to?

A

The name Maximus, literally “very large” refers to the Circus but to its proximity to the Ara Maxima (very large/ great alter), said to have been dedicated by Hercules on his journey though Italy in mythological times

43
Q

What are some attributes of the Circus Maximus?

A
  • It could seat over 250,000 people (1/4 of Rome’s people)
  • The last race at the Circus Maximus was held in AD 549
  • Original construction was wood, later marble
  • Free attendance
  • By the 4th century A.D., nearly 177 days per year were devoted to the Games, held at the circus.
44
Q

“People who once upon a time handed out military command, high civil office, legions - everything, now restrains itself and anxiously hopes for just two things: _____ and ______.” Roman poet Juvenal

A

Bread and circuses

45
Q

A person that _____ is ripe for revolt.

A

Yawns

46
Q

What was the flavian ampitheater?

A
  • Completed in 80 AD
  • Seating capacity:50,000
  • Blood sports (The last venationes were staged in the Colosseum in AD 523)
47
Q

What is the difference between a theatre and amphitheatre?

A
  • Amphi-theatres are “theatres in the round”
  • A theatre is a space with a stage, and the audience is on one side of it. People need to hear, so a theatre is relatively small
  • An amphitheatre is for action: it’s a sports arena, where the spectators sit around the field. They need to see, but they don’t really need to hear, so an amphitheatre can be much larger
48
Q

What is an arena?

A

Central part of amphitheatre, in which contests take place; scene of conflict, sphere of action, theatre-in-the-round

Latin: sand, sand-strewn place of combat (this definition draws attention to the layer of sand that absorbed blood during displays of mortal combat)

Mass slaughter as entertainment

  • Up to thousands of human and animal lives taken in one “game” day
  • “Performers” included Christians & lions, gladiators, exotic wild animals, captives & prisoners
  • Bodies dumped unceremoniously in enormous stinking pits at edge of town
  • A space for the concentration, expression and exercise of power.
49
Q

What caused the fall of Rome?

A
  1. Economic Causes
    • Heavy taxes.
    • Population decline.
  2. Social Causes
    • Erosion of traditional values.
    • Self-serving upper class.
    • “Bread and circuses”
  3. Political Causes
    • Oppressive government.
    • Corrupt officials.
    • Divided empire.
  4. Military Causes
    • Germanic invasions.
    • Weakened Roman legions.
50
Q

What are the attributes of 1st Generation Stadiums

A
  • Stadium building was revived after the industrial revolution
  • Driven in part by restoration of the Olympics
  • “Olympism is a philosophy of life, exalting and combining in a balanced whole the qualities of body, will and mind. Blending sport with culture and education, Olympism seeks to create a way of life based on the joy of effort, the educational value of good example and respect for universal fundamental ethical principles.”
  • Fueled by mass spectatorship/increased leisure time/increased professionalism
  • New structural technologies
  • Rise of ‘representational sport’
51
Q

What are the attributes of 2nd Generation Stadiums (1950s)

A
  • Greater emphasis on comfort and support facilities
  • Influence of Television (community without propinquity)
  • Spectator safety - the same levels of comfort and security as the living room
  • A focus on the spend-per-head of the spectator
  • Still largely concrete bowls
52
Q

How do stadiums offer us cultural clues?

A

Originally a view of “modest rowhouse cityscape of domestic Philidelphia” but later “marooned in an urban slum, a place from which all who could leave, had; and, like its neighborhood, was unloved and unkempt.”

“The fourth side of the box opened onto the domestic landscape of walkup flats and modest brownstones … an unbroken continuum between the noisy domesticity beyond the fence and the sport within… When the Dodgers left Brooklyn it confirmed rather than presaged the end of one social epoch in American life and the beginning of another… the equally hard imperatives of business.”

53
Q

What is the achievement state?

A

Serious sports. Production of results and records. Super-stadiums

54
Q

What is the recreational/ hygienic space?

A

Recreational sports and PE. Fitness and recreation/ Synthetic sports grounds, sports halls

55
Q

What is experiential space?

A

New waves of body culture. Fun, play, dialogical, sensusosity,parks, commons, streets

56
Q

What are the attributes of 3rd Generation Stadiums?

A

Disney and driving

  1. A leisure facility that attracted an entire family
  2. not only safe and comfortable but a place to gain knowledge
  3. not just more ‘user friendly’ facilities but ‘user attracting’ facilities:
    childcare centers, video game arcades, confectionery shops, restaurants, concourse televisions, cinemas. =Corporate Naming Rights
  4. Sport remains the focus but not the full story
  5. Sources of revenue changed, shifting away from the turnstiles and towards merchandising and television revenues
    The lure of a suburban location
  6. The power of the luxury/sky box
    (we have gone from 3% to nearly 20% in most major professional stadiums in less than two decades).
  7. Houston Astrodome is credited as the first
  8. Astro-turf and air-conditioning
  9. Multipurpose
  10. NIMBYISM
  11. All-Seater
57
Q

What are the attributes of 4th Generation Stadiums?

A
  1. Multi-functionality
  2. Emphasis on legacy
  3. Attempts to develop relationships between club and community
  4. Economic catalysts
  5. Digital information is the driving force
    - wireless carriers on interactive services such as instant polls, which let fans answer questions and display the results instantly on the stadium scoreboard
    - Televisions in seats in front of you (instant replays)
    - Ability to listen to play by play in multiple languages
    - Order food from your seats
  6. Stadiums that are ‘plugged-in’
    - To transportation infrastructure
    - To fiber optics
58
Q

What other installations are in our built fabric?

A
  • Skyscrapers
  • Churches
  • Castles
  • Ferris Wheel
  • A tower
  • Hotels
  • Monuments
  • An arch
  • A stadium
59
Q

What was “more than just a building”

A

Twin towers - 9/11

60
Q

What are american’s not used to? What did the Twin Towers become?

A

Associating buildings to loss of life. The twin towers were martyed. They were a symbol of modernity overt but minimalist

61
Q

What were some initial social criticisms of the twin towers?

A
  1. economically unsuccessful (had to be salvaged through the movement of state agencies into the tower’s offices)
  2. Disregarded teh collapsing office market in New York
    - Drowned life out of downtown, a glut of office space (real estate prices actually declined)
  3. Heavy burden on tax payers
  4. Wrecked the street grid of lower Manhattan
  5. Inefficient
62
Q

What were some initial architecture criticisms of the twin towers?

A
  • WTC was a monument to big government, corporatism, incompetence and meglomania
  • city destroyer
  • disruptive
  • monolithic
  • represented maligancy
  • an example of fiscal waste and poor taste
  • destined to be compared to other buildings
63
Q

What was the WTC considered?

A

The last great building project of it’s time. In the 1980’s, just about every design principle utilized in the building of the WTC was reversed.

64
Q

What caused acceptance of the WTC?

A

Over time the buildings came to take on a special meaning for the city and citizens.

  • Tourists appreciated the picture/ postcard view
  • For new yorkers, it was a presence that could not be ignored
65
Q

What are some examples of NYC acceptance of the WTC?

A
  • landmarks
  • observation decks
  • restaurant
  • a tight rope walker
66
Q

How did WTC shift into martyrdom?

A
  • Reflected in the new name, Ground Zero
  • a shift from global capitalist triumph to a symbol of grief, loss, truncation
  • melancholy
  • loss of innocence
67
Q

What is an axiom?

A

A principle that is accepted as true without proof. A logical statement that is assumed to be true (truth is taken for granted)

68
Q

What is a corollary?

A

A proposition that follows with little or no proof required from one already proven. A deduction or an inference.

69
Q

What is the axiom of landscape as a clue to culture?

A

The human-made landscape provides strong evidence of the kind of people we are (and were), and are in the process of becoming

70
Q

What is a corollary of cultural change?

A

Human landscapes represent an enormous investment – if major changes occur in the look of a landscape then there is likely a major change in our national culture as well

71
Q

What is a regional corollary?

A

If different regions look different then there is a good chance that the cultures of the two places will be different as well

72
Q

What is a corollary of convergence?

A

If two areas come to be more alike, we might surmise that the cultures are converging as well

73
Q

What is a corollary of diffusion?

A

Imitation/emulation cannot be ignored (i.e. architecture)

74
Q

What is a corollary of taste?

A

Understanding the root of tastes aids our understanding of the production of cultural landscapes (i.e. dietary laws, domes and spires on public buildings but not on houses, front lawns, what is promoted/prohibited?)

75
Q

What is the axiom of cultural unity and landscape equality?

A

When searching for clues to culture all things/items are important (i.e. a MacDonald’s restaurant is just as symbolically loaded as the Empire State Building, uniqueness is hard to come by)

76
Q

What is the axiom of common things?

A

Common landscapes are hard to study by conventional academic means (i.e. mobile homes, billboards, garages, city dumps)

77
Q

What is the corollary of nonacademic literature?

A

Advertisements, trade journals, promotional, travel literature

78
Q

What is the historic axiom?

A
  • History matters and cultural context is important (at one time old fashion was fashionable, the obsolete or out-dated was new and innovative)
  • A knowledge of history helps us ‘read’ the artifact
79
Q

What is the the corollary of historic lumpiness?

A

Change is often quick and radical (i.e. industrialization cities)

80
Q

What is the mechanical (technological) corollary?

A

What makes the green lawn possible.

81
Q

What is the geographic (ecologic) axiom?

A
  • Elements of a cultural landscape make little cultural sense if they are studied outside of their geographic context (when we focus on one thing we often do so at the risk of ignoring something else)
  • For example we might as: How come artist renderings of a new building are always so neat and tidy? Why do we find historic buildings in large run-down neighborhoods?
  • We should remember that once constructed, a building is perceived in its context.
82
Q

What is the axiom of environmental control?

A

What is the influence of the physical landscape? Sure we might conquer geography (floating homes, growing things all year round, living in super hot or super cold climates) but the environment continues to matter

83
Q

What is the axiom of landscape obscurity?

A

Most objects in the landscape do not convey messages in an obvious way. The way we ask our questions remains important. What does Disney World, a shopping mall, a baseball park tell us?