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Gijs Mom, Georgine Clarsen, and Cotten Seiler

Last year President Hugo Chávez of Venezuela announced the appearance of what a Dutch national newspaper called an “anticapitalist car.” The two models, named by Chávez himself as the “Orinoco” and the “Arauca,” after rivers that run through Venezuela, are locally assembled under a preferential license agreement with the Chinese automaker Chery. The cars are sold for half the price of other makes and are marketed to the expanding Venezuelan middle class. They are intended as “new attainments of the revolution” that are meant to raise the “standard of life of the people.” This new venture was in a tradition that Chávez’s opponents claim started in 2006, when he came close to making a similar deal with Iranian president Ahmadinejad.

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Gijs Mom, Georgine Clarsen, and Cotten Seiler

At Eindhoven University of Technology, which has a modest reputation for collecting contemporary art, an exhibition of large machines and poetic video clips by father and son Van Bakel invites passersby to reflect on mobility. Gerrit van Bakel, who died more than a quarter century ago, became known for his Tarim Machine, a vehicle that moves at such a low speed that it almost does not matter whether it moves or not. The propulsion principle—for those who love technology—rests on the dilatation energy of oil in tubes propelling (if propelling is the right word …) the contraption a couple of centimeters over a hundred years or so, as long as there is change in temperature to trigger the dilatation. Emphasizing his father’s insights, Michiel van Bakel, exhibits a video clip of a horse and rider galloping over a square in Rotterdam, where the position and camera work are operated so that the horse seems to turn around its axis while the environment rotates at a different tempo. Mobility, these Dutch artists convey, is often not what it seems to be.

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My Way or the Highway

Introduction to the Special Section on Roads

Thomas Zeller

Roads matter. They define spaces, spur economic development, provide ways of seeing cities and countryside, and enable generally faster forms of moving around. While the history of mobility and transportation has paid lots of attention to automobiles, trains, and airplanes, fewer scholarly accounts of streets, roads, and highways exist. For one, roads, unlike cars, almost never become individually owned objects of personal consumption. While some iconic highways such as the myth-laden “Route 66” in the U.S. exist, the majority of roads are nameless except for combinations of letters and numbers. As is the case with so many other everyday technologies, most observers only notice roads when they are dysfunctional: during traffic jams, when they contain potholes, during periods of construction and maintenance.

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Georgine Clarsen Gijs Mom

The title of this journal, Transfers, merits explication, as it attempts to engage a multitude of scholarly fields, applications, practices and conceptual frameworks. For us, Transfers invokes the movement of people, things, and information through time and space, but it also applies to the transit of concepts between fields of scholarship. The practices of technology transfer are an example of the former, while the latter can be seen at work when the concept of mobility is used to refer to both social (or “vertical”) mobility and physical (or “horizontal”) mobility. Social mobility, for instance, comes into play when the possession of a car leads to higher status, or when the train compartment becomes a medium of social exchange or the display of social hierarchies rather than simply a vehicle of physical transport. Interdisciplinarity, the key scholarly mode of this journal, always involves the movement of ideas across disciplinary borders, unsettling them in (we think) productive ways. Transfers, in other words, connects adjacent fields of scholarship as much as it connects geographical areas between which technologies move. It is crucial to understand that during this process, people, technologies, concepts, and goods in movement are transformed and transform their environments in turn. This is not an automatic or passive process: as people move, people translate.

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Gijs Mom

This summer a small airplane was suspended between high trees on a lane in a posh neighborhood of Amsterdam. Part of a display of contemporary art, the plane is one of Joost Conijn’s self-built contraptions in which he flew all the way to Africa, regularly reporting on his “performance” in one of the Dutch national newspapers. In Western histories of mobility, voyages to Africa—on foot, by ship, in litters carried by indigenous people, in trains, by car or motorbike, and in planes—symbolized in the popular mind an aggressive colonialism. Such trips demonstrated Western superiority as much as they involved utilitarian journeying or reconnaissance of land to be conquered. Anxious about staying aloft, Conijn mimicked in his adventures the pioneering spirit of colonial exploits while at the same time giving them a postcolonial twist. In his case, the return to Africa was a self-consciously humble venture, one that threw into comic relief assumptions of western superiority and the right to unfettered mobility. At the same time as his low-tech vehicle questioned the rationality of mass tourism in supersize Boeings, it reminded us of an era after the car began to be domesticated, when aviation promised to be the more advanced successor of individual motorized transport.

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Introduction

The Return of Transport Coordination

Gustav Sjöblom

The coordination of transport was heavily debated in the interwar period, as mechanized road traffic for the first time posed a serious challenge to the railways as the backbone of the transport system. The main issues of the interwar period bear resemblances with current challenges for transport policy, and historical studies may improve our understanding of contemporary transport coordination. This introduction sets the stage by discussing the concept of transport coordination and its historiography.

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Gijs Mom, Georgine Clarsen, Nanny Kim, Cotten Seiler, Kurt Möser, Dorit Müller, charissa N. Terranova, and Rudi Volti

In 1873 Edouard Manet finished his famous and beautiful “Railroad” painting. In it a woman in a blue travel coat, sitting on the stone base of a gate, stares us in the face, looking up from her book and gazing through us as if digesting what she just read, a little dog sleeping on her lap. Next to her a girl (her daughter?) stands with her back toward us, a big blue bow on her white Sunday dress, gripping the gate bars and looking through them at … a cloud of steam. No train in sight. They are waiting, for what, for whom? Perhaps the girl’s attention is not drawn by what she sees but by what she hears: a steam valve must be hissing loudly.