Double apartheid (p. 2-3)
he growing divorce between these
debates and those that characterize vernacular
discourses about the global,
worldwide, that are typically concerned with how to
plausibly protect cultural
autonomy and economic survival in some local, national, or
regional sphere in the era of "reform" and "openness."
the poor and their advocates find themselves as far from the anxieties of their own
national discourses about globalization as they do from the intricacies of the debates in
global fora and policy discourses surrounding trade, labor, environment, disease, and
Grassroots globalization (p.3)
Globalization from below
He says that it is significant because it “strives for
standing in respect to the various forms by which global power further seeks to extend
Without its success, an international civil society will have no future
World of flows (p. 5)
We live in a state of motion where there is a constant flow of everything from
and ideologies, people and goods, images and messages, technologies and techniques
around the world.
“trait” geographies/ “process” geographies (p. 6-7)
He says that we need to move away from “trait” geographies which categorize based
on “traits” (language, values, marriage patterns, ecological adaptations, material
practices) because they tend to see areas as immobile aggregates of traits.
Instead he calls for a shift toward “process” geographies which see significant areas of
human population based on action, interaction, and motion (
trade, travel, pilgrimage,
warfare, proselytization, colonization, exile, etc.) because these better define
populations and are able to show shifts and changes better.
Lippold – Pan Am Lobby Sculpture
The sculpture looks like modern aircraft with a sphere of the world in the center.
From this sphere a seven pointed star radiates out towards the seven continents and
seven seas as if in intercontinental travel.
The fragmented arcs suspended in arms of
the star, like parts of the world transported by means of swift air travel.
You can walk
under the looming structure, filling the viewer the same sort of awe as when one
embarks and disembarks from a plane.
Niru Ratnam “Art and Globalization”
Brazilian artist Cildo Miereles Insertions into Ideological Circuits: Coca-Cola Project
Wrote “Yankees Go Home” under the Coca-Cola logo and then put the bottles back in
to circulation in Brazil, which was under strict censorship at the time.
by subverting the system out of which it is constituted, rather than seeking some sort
of outside to the circuits of global capitol.