A city is crooked because it is diverse, full of migrants speaking dozens of languages; because its inequalities are so glaring, svelte ladies lunching a few blocks away from exhausted transport cleaners; because of its stresses, as in concentrating too many young graduates chasing too few jobs … Can the physical ville [city] straighten out such difficulties? Will plans to pedestrianize a street do anything about the housing crisis? Will the use of sodium borosilicate glass in buildings make people more tolerant of immigrants?
Richard Sennett, Building and Dwelling: Ethics for the City, 2018 # 4
Crooked city planning
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- More than ever today, nature has become inseparable from culture; and if we are to understand the interactions between ecosystems, the mechanosphere, and the social and individual universes of reference, we have to learn to think ‘transversaly’. As the waters of Venice are invaded by monstrous, mut …
# 3
Giovanni Ambrosio. Please do not show my face. Chapter: Thresholds. Untitled.
Every image in the Alterlibrary collection is intended as a quote, an excerpt of a larger discourse. But every image also stands as a matter that could undergo a series of operations and alterations. Therefore, images are renewable sources.
Operations: Extraction and Collection. Image alteration: none.
This is an original photographic image extracted from my series called Please do not show my face. It is a collection of photographs divided into six chapters. All images have been shot in Calais and Dunkerque migration camps, across the cities and in the so-called jungles. Please do not show my face is not a documentary series on migration or migrants (but no one can control how images can collect arguments)—this work aims mainly to be an essay on the concept of the gaze. In using documentary photography materials, it interrogates the boundaries of visibility, authorship, and power of representation.
In the chapter devoted to thresholds, each image probes the notion of a threshold as a political act for those possessing the means of representation, compelling us to ask how far we can—or should—go in portraying others. Simultaneously, migration—moving from one place, status, or idea to another—is inextricably linked to thresholds and is never neutral: having, or being denied, the power to cross them determines who can move freely and who remains excluded.
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- We would ask to transform and reform the modalities of membership by which the city (cité) belongs to the state, as in a developing Europe or in international juridical structures still dominated by the inviolable rule of state sovereignty […] This should no longer be the ultimate horizon for citie …
of our Imagination
