Reception and Exposure in Architecture, Film and Television
2013; Routledge; Volume: 18; Issue: 3 Linguagem: Inglês
10.1080/13264826.2014.875611
ISSN1755-0475
Autores Tópico(s)Art History and Market Analysis
ResumoAbstractAs architecture becomes more concerned with how to better understand, accommodate, and use the public's increasing exposure to and engagement with architecture in its practice, it increasingly encounters the sorts of issues film and television have long grappled with. In this article, I ask what, if anything, can architecture learn from film and television's apparatus of reception and its use of the idea of exposure? I will answer this question with reference to the continuities and discontinuities among reception and production systems in architecture, film, and television. The article ends by speculating on what a ratings-like system of measuring and giving the public a voice in architecture might do to how it is discussed and performed. Notes 1. Anna Klingmann, Brandscapes: Architecture in the Experience Economy, Cambridge, MA: MIT Press, 2007. 2. John Macarthur and Naomi Stead, “The Judge is Not an Operator: Historiography, Criticality and Architectural Criticism”, Oase, 69 (2006), 130. 3. Stanley Cavell, “The Fact of Television”, Daedalus, 111, no.4 (1982), 75–96; 85. 4. For an account of television's standards of imaging as an intrinsic dimension of its aesthetic system, see Tom O'Regan, “Transient and Intrinsically Valuable in their Impermanence: Television's Changing Aesthetic Norms”, Lola, 3 (December 2012), http://www.lolajournal.com/3/tv.html (accessed 1 May 2013). 5. The phrase “essential tension” comes from Thomas Kuhn, The Essential Tension: Selected Studies in Scientific Tradition and Change, Chicago, IL: University of Chicago Press, 1977. Fred D'Agostino sees this “essential tension” as a general characteristic of knowledge formations. See D'Agostino, “Naturalizing the Essential Tension”, Synthese, 162, no. 2 (2008), 277. I am adapting it here to understand the dynamics of cultural forms. 6. See Vassilis Fouskas, “The Culture of the Europeans: An Interview with Donald Sassoon”, Journal of Southern Europe and the Balkans, 8, no. 3 (2006), 274. 7. In public commissioning, this is always delegated decision-making conducted on behalf of the public and government. 8. Allen J. Scott, The Cultural Economy of Cities, London: Sage, 2000, x. 9. Meaghan Morris, “Indigestion: A Rhetoric of Reviewing”, in her The Pirate's Fiancée: Feminism, Reading, Postmodernism, London: Verso, 1988, 121.10. Søren Smidt-Jensen, “Making a Micropole: The Experiensation of Vejle”, in Anne Lorentzen and Bas van Heur (eds), Cultural Political Economy of Small Cities, London: Routledge, 2013, 114.11. Alain de Botton, The Architecture of Happiness, New York: Pantheon Books, 2006.12. See Donald MacKenzie, An Engine, Not a Camera: How Financial Models Shape Markets, Cambridge, MA: MIT Press, 2006.13. For an extended discussion, see Philip M. Napoli, Audience Economics: Media Institutions and the Audience Marketplace, New York: Columbia University Press, 2003; and Mark Balnaves, Tom O'Regan, and Ben Goldsmith, Rating the Audience: The Business of Media, London: Bloomsbury, 2011.
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