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How does order emerge out of the multiplicity of bodies, objects, ideas and practices that constitute the urban? This book explores the relation between space, law and control in the contemporary city - and particularly in the context of urban `mega events' - through a combined geographical and normative analysis. Informed by the recent spatial, affective and material `turns' in the humanities and social sciences, Andrea Pavoni addresses this question by pursuing an innovative and trans-disciplinary approach, capable of accounting for the emergence of order in urban space both at the conceptual and empirical levels. Two overarching objectives are pursued. First, to account for the increasing convergence of logics, techniques and technologies of law, security and marketing into novel, potentially oppressive spatial configurations. Second, to envisage a consistent ethico-political strategy to counter this evolution, by rethinking originally and in radically spatial terms the notion of justice. Forging a sophisticated and original analysis, this book offers an analysis that will be of considerable interest to those working in critical urban geography, critical legal studies, critical event studies, surveillance and control studies

How does order emerge out of the multiplicity of bodies, objects, ideas and practices that constitute the urban? This book explores the relation between space, law and control in the contemporary city - and particularly in the context of urban 'mega events'- through a combined geographical and normative analysis. Informed by the recent spatial, affective and material 'turns'in the humanities and social sciences, Andrea Pavoni addresses this question by pursuing an innovative and trans-disciplinary approach, capable of accounting for the emergence of order in urban space both at the conceptual and empirical levels. Two overarching objectives are pursued. First, to account for the increasing convergence of logics, techniques and technologies of law, security and marketing into novel, potentially oppressive spatial configurations. Second, to envisage a consistent ethico-political strategy to counter this evolution, by rethinking originally and in radically spatial terms the notion of justice. Forging a sophisticated and original analysis, this book offers an analysis that will be of considerable interest to those working in critical urban geography, critical legal studies, critical event studies, surveillance and control studies.

This article explores the making and tasting of wine through the anonymous processes of nonhuman consumption that participate in the production of its relational ontology (the terroir) and shape its visceral encounter with the human tongue (taste). First, the author defines a notion of consumption that is neither reduced to the human, the subjective, or the phenomenological nor dematerialized into sociocultural or politico-economic anthropic schemes. Second, he explores wine's terroir as a prism through which to challenge the two main ideologies that frame the contemporary wine world: a normative territoriality premised on spatio-legal frameworks, and a consumer-oriented marketing approach. Third, the author introduces the natural wine movement, an umbrella term loosely gathering different wine makers who share a common reaction against those ideologies. In the constellation of thinking, making, and tasting that constitute the movement, he finds the lineament of a strategic materialism that aims to make visible and is open toward the agency of the nonhuman matter, and which does so by addressing simultaneously wine's terroir and taste, by means of profanating their taken-for-granted normativity. The article concludes by suggesting that this strategy may hold promising insights for implementing radical food politics in the age of agro-industrial capitalism.

Abstract This paper addresses the current co-optation of street art into an uncritical aesthetic supplement to the process of neoliberal urbanisation, by focusing on its unresolved relation with its own site. This is done in three steps. First, via a perambulating immersion into the complexity of a specific site. Second, via a critical engagement with the form and politics of contemporary street art. Third, via a strategic speculation on the relation between the notions of art, urban and site. Street art's current impasse, I argue, paradoxically depends on its incapacity to become properly urban. A urban-specific street art, I contend, is not a decorative veneer nor an enchanting disruption to dramatic processes of urbanisation: it is a force-field in which these processes are made visible, experienceable, and thus called into question. The 'Olympic' works of JR and Kobra in Rio de Janeiro, and the iconoclastic performance by Blu in Berlin, are used to illustrate and complement the argument.

How to define, and conceptualise, violence? This is a problem the social sciences and humanities have long wrestled with, often framing violence as an abstract, moral, and normative question, which prevented them from capturing its complexity. Violence, we suggest, is a tensional force that is constitutive of and immanent to social, material, and spatial relations, simultaneously weaving them together and threatening to disrupt them. At the same time, violence cannot be reduced to an epiphenomenon of an overarching process such as capitalism: it does not simply result from the unfolding of structures and global processes. Rather, it takes material existence in the frictional encounter with these very structures and processes. In this article, we build on and push beyond recent theorisations on infrastructure and infrastructural violence to introduce the concept of 'infra-structural violence' – where the hyphen emphasises the relational, tensional, and somatic in-between – as a way to rework symbolic, economic, and other notions of structural violence towards an ontological, epistemological, and ethical 'statics' of violence, which is attuned to its disruptive, constructive, and preserving qualities.

Not many topics have received the amount of (academic, cultural, political) attention that urban violence has had. In a way, since 19th century reflections on the nascent urban modernity, the discourse about 'the city' has always been one of violence, with remarkable consequences in the way cities are discussed, regulated, planned, policed, and lived. Reflection on what urban violence may actually be, however, has been for the most part lacking. The urban in urban violence has often been used as a mere adjective pointing at the location where a physical event of violence takes place, rather than a process, a space, an atmosphere, which may be violent in the first place. In this sense, going beyond a narrow understanding of urban violence means attending to its relational, material, and temporal complexity. This is what the following contributions do. ; info:eu-repo/semantics/publishedVersion