Lennusadam – Sea Plane Harbor 6 Vesilennuki Street, Tallinn, 10 415, Estonia http://www.lennusadam.eu/en/ Tickets €10 for adults, €5 for students and children, €19 for families
A Hangar Full of Estonian Maritime and Naval History
Architectural pilgrimage is implicitly appreciated in architecture and design circles, especially by students who are encouraged to “travel to architecture,” with the focus on the Grand Tour as a means of architectural exploration. However, the expression has not been made explicit in the fields of architectural history, pilgrimage studies, tourism research, and mobility studies. I explore how pilgrimage to locations of modern architectural interest affects and informs pilgrims' and architects' conceptions of buildings and the pilgrimage journey itself. Drawing initially on a European architectural pilgrimage, the personal narrative highlights the importance of self-reflection and introspection when observing the built environment and the role of language in mediating processes of movement through and creation of architectural place-space.
Moebius' Trajectory through Buenos Aires
Moebius (1996) is the first cinematographic production of the “Universidad del Cine” of Buenos Aires. It is the collective project of forty-five film students under the general direction of Gustavo Mosquera. The film narrates the mysterious disappearance of a subway train along the last addition to its underground network: the “línea perimetral.” In search for answers, a topologist named Daniel Pratt initiates an allegorical journey into Moebius, a subway trajectory that is timeless but includes all times. This article explores the role of Moebius' subway as a metaphor to understand the urban. Drawing from Buenos Aires' urban history this filmic analysis ties the Subte to Buenos Aires' processes of capital accumulation and unveils the fissures of its modern spaces.
Mapping Science, Technology, and Medicine in and around Late Imperial China
The project “Individual Itineraries and the Circulation of Scientific and Technical Knowledge in China (16th–20th Centuries)” has shed light on the impact of individuals’ geographic mobility on the spatial dynamics of knowledge in late imperial China, where the bureaucratic system dictated a specific pattern of mobility for the elites. The question was also studied for other socioprofessional groups—craftsmen and medical doctors—and for the actors of the globalization of knowledge—Christian missionaries, colonial doctors, and the Chinese students. The studies conducted shed light on a variety of places, social milieus, fields of knowledge, and on the conditions of travel of technical knowledge—including sericulture, water conservancy, medicine, natural history, and statistics—against the background of the expertise such as classical scholarship—the dominant body of knowledge, sanctioned by imperial examination—circulated among the elite.
controversy on campuses across the United States and news media picked up stories about Mexican “fiestas” with college students dressed up as border patrol and “illegals,” to “Compton Cookout” parties with students dressed up as gangsters, with painted black
James J. Flink “has clearly established himself as the leading authority on the history of the automobile and has written a major work that will repay careful study by all scholars interested in the 20th century,” wrote cultural historian Joseph J. Corn in 1989 in a review of The Automobile Age. Corn did not write “transportation scholars” but “all scholars,” and was alluding to Flink’s approach to periodizing history around progressive technological change rather than around political administrations or wars. Corn continued, “[Flink] views the car, or more accurately automobility, as being a major protagonist in the historical dramas of the period,” quoting passages that pinned the Great Depression on the saturation of the automobile market and attributed the allies’ triumph in the Second World War to superior mass-production capability stemming from the American automobile industry. Corn also observed, “Flink significantly demolished the myth, repeated by too many historians, that the American experience with automobiles has been exceptional .... Moreover, he concludes, the ‘appeals of the car were universal, not culturally determined’ (pp. 28–29).” Flink published at least two more important articles and was writing his fourth book on the automobile when he retired from his professorship in Comparative Culture at the University of California at Irvine in 1994. Since then, he eschewed academic and professional activity, despite numerous entreaties. However, when I, a former student of Flink’s and now a transportation planning professor, asked him to reflect on his influential career, Flink welcomed the opportunity. I traveled to Professor Flink’s southern California home in March 2012 for the interview, which took place on March 2.2
Moving beyond Migrants’ Rights
Sin Yee Koh
Introduction The invitation to write this essay has been timely. I am in the midst of teaching an undergraduate course on migration in the twenty-first century in which I explore, with my students, questions about the differential rights afforded to
Gijs Mom and Georgine Clarsen
that more than ever the politics of mobility are crying out for the mobility student’s attention. While in Europe a gulf of ambiguous empathy was triggered by the ultimate expression of immobility (a shocking image that so quickly moved around the
The Art and Child Artists of the Carrolup Native School and Settlement, Western Australia
Ellen Percy Kraly and Ezzard Flowers
since followed in a manner consistent with the original inspiration for the drawings: education. The multiple facets of the Carrolup story have provided transformative opportunities within the liberal arts curricula of Colgate University. Students and
Black Lives Matter Guerrilla Street Signs
Christopher Robbins, Maria del Carmen Montoya, and John Ewing
race. These signs were designed in the workshop Ghana ThinkTank ran with students at the State University of New York (SUNY), Purchase College School of Art and Design, as part of the “I Serve Art” exhibit at the Richard and Dolly Maass Gallery, curated