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cities wants to compete for attention in a globalized competition for capital investments. this comes with the aim to develop a high standard of living - which is associated with a sophisticated and diverse offer of culture and leisure activities - promises to involve more investments. | cities want to compete for attention in a globalized competition for capital investments. this comes with the aim to develop a high standard of living - which is associated with a sophisticated and diverse offer of culture and leisure activities. | |
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more than thirty percent of the entire workforce in the united states are working so-called creative industries what comprise people who work in science and engineering, architecture and design, education as well as in the arts, music and entertainment. florida calls them the creative class that marks an economic change and will effect the organization of work in future as well as the development of urban space as differentiated and diverse places of living. florida reasons that the businesses and industries are forced to move where the people want to live. | more than thirty percent of the entire workforce in the united states are working in so-called creative industries what comprise people who work in science and engineering, architecture and design, education as well as in the arts, music and entertainment. florida calls them the creative class that marks an economic change and will effect the organization of work in future as well as the development of urban space as differentiated and diverse places of living. florida reasons that the businesses and industries are forced to move where the people want to live. | |
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Beside culture, arts, creativity, tourism and nightlife the images of gay cultures like the yearly gay pride parades - as i mentioned it before - are used for a tolerant and open-minded image of the city. | Beside culture, arts, creativity, tourism and nightlife the images of gay cultures like the gay pride parades - as i mentioned it before - are used for a tolerant and open-minded image of the city. | |
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So we heard how queer visibility can be part of a creative, exclussive class and how concepts and visualisations vary from one context to the other. Our critique on the label queer and its signs are also concerned with representations of queer in subculture. My field of interest are the effects that queer signs produce when they are used in the transition to mainstream-contexts. Do these effects irritate, do they normalize or do they become any given meaning? | So we heard how queer visibility can be part of a creative, exclusive class and how concepts and visualisations vary from one context to the other. Our critique on the label queer and its signs are also concerned with representations of queer in subculture. My field of interest are the effects that queer signs produce when they are used in the transition to mainstream-contexts. Do these effects irritate, do they normalize or do they become any given meaning? | |
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In several discussions, Thomas, Ulf and I turned to question how these images can be read. We assembled different aspects like 'very queer', 'erotic', 'playing with gender and sexuality', 'sexism' and 'extremely straight'. The force of the concept 'queer' seems to enable very different possibilities of meaning. The queer signs of crossdressing, as shown on the first picture and - more 'trashy' crossdressing on the second picture offer different modes of reading. On the other hand the 'playboy-style' shown in the third picture (re)signs a heteronormative arrangement. This phenomenon can be described as a declining evolution of queer images: From the first picture on, we observe a revision of the concept queer, which finally seems to lead to a complete disappearance of the queer image in the third picture. | In several discussions, Thomas, Ulf and I turned to question how these images can be read. We assembled different aspects like 'very queer', 'erotic', 'playing with gender and sexuality', 'sexism' and 'extremely straight'. The force of the concept 'queer' seems to enable very different possibilities of meaning. The queer signs of crossdressing, as shown on the first picture and - more 'trashy' on the second picture offer different modes of reading. On the other hand the 'playboy-style' shown in the third picture (re)signs a heteronormative arrangement. This phenomenon can be described as a declining evolution of queer images: From the first picture on, we observe a revision of the concept queer, which finally seems to lead to a complete disappearance of the queer image in the third picture. | |
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As I have argued, queer images and signs, which were stigmatized earlier, have now become part of the mainstream. Up to now, addressing otherness, as well as performing the unnaturalness of heteronormativity were applied as suitable strategies against the repression of normalisation and homophobia. Now we face the question, if visible queerness still cn challenge the normalisation when queer signs no longer have an obvious political impact? | As I have argued, queer images and signs, which were stigmatized earlier, have now become part of the mainstream. Up to now, addressing otherness, as well as performing the unnaturalness of heteronormativity were applied as suitable strategies against the repression of normalisation and homophobia. Now we face the question, if visible queerness still can challenge the normalisation when queer signs no longer have an obvious political impact? |