social relations

¬COMM2411 – Communications and Social Relations Assessment Task #3 – Group Artefact Analysis Group Members: Henna Hong (s3207198) Boram Chung (s3192606) Jung woo Um (s3193782) Claire Johnson (s3234500) Sean O’Callaghan Tutor: Ashley Perry Tutorial Time: Friday, 10:30am Classification: ‘Public Relation’ Artefact#1 The Coops Shot Tower in Melbourne Central shopping centre

The Coops Shot Tower is located in the heart of the Melbourne CBD is a beautiful example of a rare building type that survives completely intact. Closed in 1961 the tower was covered with an 84 metres high glass dome when it was incorporated into the architecture of Melbourne Central Shopping Complex. There is also a prominent city landmark and was the focal point of a group of brick warehouses and stores in this area. This space is suitable for theatre, music, dance, visual arts, literature, community and multi-media uses.

Rivas has analyzed the presence of the shopping mall and consumer cultures in postwar El Salvador as a significant site of imaginaries of citizenship in the context of global flows. The mall can supply a lifestyle; Everything from secure parking lots and identification with fashionable global brands, to ‘culture’ in its multiple form for those who can afford to be its citizens. The author tries to show that, although the characterized as ‘public’, the shopping mall is a private space that reproduces ideas of economic inequality and disparate access to goods. The shopping mall continues to be an important site where the economic and political importance of consumption is realized for many consumers (Rivas, 2009). The spaces are involved in a dialogue about the processes and consequences of con¬sumption in contemporary Melbourne Central mall and the space of The Coops Shot Tower communicates and link despite their differences.

Morris’s article tries to cite a definition of modernity. She wants to discuss some issues for feminist criticism that emerge. The article suggests the shopping centre has an over-all theme of consumerism but allows for experience and discourse in many areas. This article provides the analysis of shopping centres partly involved on the one hand, exploring common sensations, perceptions and emotional states aroused by them which can be negative; of course, as well as delirious. On the other hand, it is battling against those perceptions and states in order to make a place from which to speak other than that of the fascinated describer – either standing ‘outside’ the spectacle qua ethnographer, or in a pose that she is ostentatiously absorbed in her own idea of celebrant or ‘popular culture’ (p. 447).

This article provides principles of harm reduction, social and community wellbeing, economic prosperity, land use planning, public place design and management and service excellence. This archive is demonstrates the 24 hour city and has been produced to support city rhythms that provide continuous, high level activities throughout the entire day and night. When Melbournians finish work, the city develops a more relaxed atmosphere, people have dinner, gather to see a show or visit a gallery. Around 11pm to midnight, many people have left the city. The activating of the documents gathered in this archive in Melbourne at night is to encourage a diverse and vibrant place for people to visit, socialise and work (City of Melbourne,

14/4/2010). According to this archive, the city at night will support economic development and encourage businesses prosperity and cater for customer needs.

References: City of Melbourne, ‘City of Melbourne’s Policy for the 24 Hour City’, viewed 14 April 2010, <http://www. melbourne.vic.gov.au/CommunityServices/CommunitySafety/Pages/24HourCitypolicy.aspx> Morris, Meaghan 1988, ‘Things to do with shopping centres’, Consumption: critical concepts in the social sciences, Daniel Miller, Routledge, London, pp. 444-473, viewed 14 April 2010, <http://books.google.com/ books?hl=en&lr=&id=viKte9NK5tgC&oi=fnd&pg=PA444&dq=Description+of+shopping+center+history& ots=SpMleJZjLP&sig=ipG7g-8JvBysSpBI2QJITjMa8KU#v=onepage&q&f=false> Rivas, C 2009, Consumption as Communication: A View From the Shopping Malls of San Salvador, El Salvador. Conference Papers -- International Com¬munication Association, 1p-25p Artefact#2 The Banksy Rat

Some time during a visit to Melbourne between 2002 and 2003, notorious UK street artist Banksy painted a simple, A4 size stenciled image of a parachuting rodent wearing goggles onto a wall in Hosier Lane. This particular piece was one of many that Banksy left during his stay, but known to be the last remaining work after others were ‘cleaned’, sprayed over or purposely destroyed over the years. That was until the 26th of April, 2010, when council contractors painted over the affectionately named “Banksy Rat” in a routine clean-up of the infamous Hosier Lane. Melbourne City Council CEO Kathy Alexander said that although the council regrets the loss of the “popular” and well regarded artwork, she also points out that there are 5 registered street-art sites in Hosier Lane, and unfortunately the Banksy work was not in one of the 29 council registered and protected sites, leaving it appropriate to clean (Heard, 27/4/2010). Banksy, although rooted in a culture-jamming background, has had stencil work sold for hundreds of pounds at auction, raising the question of monetary value as a motivator for preservation.

Robert Doyle (Lord Mayor of Melbourne 2008-present) in his role as Mayor, has embraced Melbourne’s street art as part of the vibrant cultural experience of Melbourne, and has even invited Banksy back to Melbourne with the appeal of new artworks (Fitzsimmons, 2010). The Council’s website even boasts about how the city’s street-art has “become an attraction for local and overseas visitors experiencing Melbourne’s creative ambience” (Melbourne City Council, 2010). Melbourne has found a delightful tourist draw-card in the street art of the laneways, and through its promotion (inclusion in tourism ads, registration program et al) has embraced the culture that comes with it.

Counter-intuitively Victorian Premier John Brumby has always taken a firm stance against street-art and graffiti of all kinds. Such was he displeasured by the inclusion of Melbourne street-art in a promotional stunt in America that in October of 2008 he forced both the exclusion of the graffiti from the display as well as an apology from Tourism Victoria who created the promotion (Topsfield, J. 2008.). Brumby is said to be “behind the times and out of step with public opinion” (Andrew MacDonald, aka Andy Mac. 2008), but in reality public opinion is not necessarily behind street-art. Graffiti is an issue that costs organizations a lot in clean-up bills, and this causes obvious frustration amongst some of the community, and the line between acceptable street-art and property damage can be thin.

The problem here is the multitude of voices, all contradicting each other. The Lord Mayor has his thumbs up; the Premier has his thumbs down. The tourists have their thumbs up, and the public has some up and some down. Official polices “declare opposition to uncommissioned graffiti and street art” (Young, A. 2010), and removal strategies are in a general sense “founded upon the assumptions that graffiti is a blot on the visual field and that its erasure returns the urban landscape to a pristine condition” (Hansley & Young, 2002). Young also recognizes that the state is profiteering from a phenomenon that it is also trying to prevent

and prosecute.

The simple need is to find a unified approach to street-art; A way to display Melbourne’s street art and creative tradition proudly, whilst preserving its culture and minimizing property damage. Like it or not, it’s time for Melbourne as a whole to accept graffiti as a part of the city experience, and take positive action to ensure it is displayed properly and proudly, an icon of the cultural underground that makes Melbourne.

For those who are interested, the rat has been replicated many times over in retaliation to its removal.

References: Fitzsimmons, H. 2010. Lateline, 30/4/2010. ABC, Melbourne.

Hamish, H. 2010. Banksy’s art welcome in Melbourne, says Lord Mayor Robert Doyle, Herald Sun, 4/27/2010 Hansley, M., Young, A. . The Meanings of Graffiti and Municiple Administration. Australian and New Zealand Journal of Criminology, 35: 2, 175.

Melbourne City Council, 2010. Street Art. Online: (Accessed 20/5/2010) http://www.melbourne.vic.gov.au/ ForResidents/StreetCleaningandGraffiti/GraffitiStreetArt/Pages/Whatisstreetart.aspx Topsfield, J. 2008. Brumby slams Tourism Victoria over graffiti promotion. The Age – Travel, 1/10/2008 Young, A. 2010. Negotiated consent or zero tolerance? Responding to graffiti and street art in Melbourne, City, 14: 1, 99 – 114 Artefact#3 Information centre at Bourke Street

The information centre is provided the information about what kind of event and festival open now in Melbourne, Melbourne map and direction, Public transport information and met card sales, accommodation booking, best visiting place in Melbourne and quality Melbourne souvenir and gifts. Information centre is present the whole of Melbourne. In the information booth located on Bourke Street, there are Melbourne Ambassadors wear red uniforms. They are volunteers for give the information to people. As give the information about the Melbourne to visitor and Citizens, it is helps to relation with Melbourne and people.

Australia Multi - culture community become since World War 2. After World war, the Australia immigration policy became widely. Australia accepted the majority of Greek, Italian, German and Dutch. As Melbourne became a capital city, the Melbourne migration was higher than Sydney. Most of migration group settled in the city because city is the centre of the media and location. The information centre is located on city also. The reason why located on city is that it is the main of the media and communicate. As the visitors increase, the Melbourne city is developed. Also, migrant helped to change a rural, outback society to a modern. In the process Australia became a multicultural society. The information booth located on Bourke Street, it is also helps to Bourke Street consumption. The visitors get the information at Bourke Street, they visit the shops on Bourke Street. The information centre relation with Melbourne city and communication with visitors.

“The Annual Campaign reveals how to run a well-managed and well-coordinated annual campaign effort from the perspective of the large or small non profit organization (Daubert, Erik J p2). Annual campaign supports that non profit organization and it is powerful a financial development. Through the annual campaign, raising awareness, engaging volunteers, getting the organizational message and related wide community. The reason why the government or the organization need to campaign because it is need to chance to create volunteer participation around an uplifting and motivation experience, the chance to connecting with society, communication with people, increase an organization’s visibility in the community and improve its image. Annual campaign offers the chance to notify the message to people. The campaign and festival is the media of connect global and Melbourne society. As the annual campaign published in Melbourne, it is make

the relation of community of Melbourne.

Melbourne is famous for multiple documents of Melbourne music, fashion, sports and festivals.

Melbourne is the one of the world’s livable cities. The city of Melbourne have sporting and cultural events, shops, art galleries, outdoor cafes and hidden bars. To the tourist, Melbourne city represent different feelings each of streets. City is as same as miniature of Melbourne. Melbourne is best discovered on foot and the transports and network offer great alternative to taking a car. There is a network of riverside and urban bike paths that can help people. The information booth located on Bourke Street is connecting with shopping also. Therefore, this information booth has more information about shopping malls information and Bourke street information.

References: Beata Leuner, 2007, Migration, Multiculturalism and Language Maintenance in Australia, Peter Lang AG, Switzerland, pp.31-67.

Daubert & Erik J, Hoboken: John Wiley & Sons, Inc. 2009, Benefits of the Annual Campaign, The Annual Campaign, Viewed 15 April 2010, <http://www.rmit.eblib.com.au.ezproxy.lib.rmit.edu.au/patron/FullRecord.aspx?p=469321> Melbourne in autumn, Victoria 2009 – 2010, Accessed 17 April 2010.

Artefact#4 Bourke Street Mall

Bourke Street Mall was built to designs featuring typical concepts of 1960 urban architecture. It is located between Swanston and Elizabeth streets, the short pedestrian and tram-only strip is recognized as Melbourne’s retail heart, with big department stores together with an array of flagship stores. Melbourne’s two main department stores David Jones and Myer are located in this place and a discount department store Target also located in here. The historic neo-classical style ‘GPO’, which is also on Bourke Street Mall, has been restored and converted to a high-end retail department.

Rachel Wells has found that despite years of quieter activity, Bourke Street mall is busy again. The sudden renewed interest in the Bourke Street Mall can be largely attributed rejuvenation of department store brands Myer and David Jones, which struggled for relevancy throughout the 1990s, and most importantly, the multimillion-dollar refurbishments of their Bourke Street stores. Myer and David Jones are playing a big role in attracting other fashion retailers in to the Bourke Street Mall. Retailers are struggling to stay ahead with such strong competition. The number of retail shops is increasing and therefore so is the competition in Bourke Street. The mall still has a great effect on Melbourne’s commercial economy development. The artifact exists because of the hot competition between retailers from the Bourke Street.

The street artists analyzed reactions to various types of visual art including graffiti and tags, stencils, and poetic assault. For those who feel that corporate logos are taking over the landscape, street art rejuvenates public spaces while talking back to the culture of over-consumptions. Several disciplines, including sociology, urban studies, and anthropology have commented on the rise of non-places we all consume with little real enjoyment. Various stakeholders have different reactions to street art; these art forms initiate important conversations regarding the search for common space and the democratization of art. Public space can be contested as private and commercialized by companies and artists, or offered back for collective use. In Bourke Street, many street artists and their works are displayed. Some arts can be effective with the Bourke Street Mall as commercial. Also the arts make people draw in and it encourages consumption in the mall.

Either public space creates wider access to the privileged aesthetic domain, but requires a level of cultural education of art is to be appreciated, just as the statue requires recognition of its subject of type. Although it

is comparing two types of street art, the chapter provides a number of possible explanations on how public art can be used to reflect exists because of Melbourne’s appreciation for art culture and, in turn, stimulates its people to experiment and play around with new ideas.

References: Luca, M & Visconti, John, F 2003, “Street Art, Sweet Art? Reclaiming the ‘Public’ in Public Place.” Journal of Consumer Research, Vol 42 Miles, M 1997, Art In The Street: Art, Space and the city, Routledge, London WELLS, R 2008, ‘Bourke’s back’: The mall is shaking off its daggy reputation to become the hottest retail spot in Melbourne, The Age, 23 November

Artefact#5 Federation Square

Since opening on 26th of October Federation Square is Melbourne’s striking city square, on the edge of the Yarra River and across the road from Flinders Street Station, the size of an entire city block, Fed Square brings together a creative mix of attractions including leading-edge galleries, cinemas, award-winning restaurants, cafes and bars, events and festivals and grand public open spaces embraced by some of the most unique and striking architecture in the world. ‘Fed Square’ and has quickly become the ‘must visit first’ attraction.

Each year the number of visits, popularity of events, media coverage and overall acceptance of Federation Square continues to grow, exceeding original expectations. Federation Square provides an obvious meeting place in the heart of Melbourne. Local, interstate and international tourists increasingly depend upon the Melbourne landmark as there meeting location. For Victorians, the success of Federation Square has played a huge role in the increased willingness for locals to visit the city centre. According to the Hon. John Brumby, Premier of Victoria, At last, Federation square provides Melbourne with a democratic meeting place and a hub for festivals and events. It is a place where cultures meet, friends meet, minds meet and worlds meet.

Federation Square’s visual imagery has become Melbourne’s symbol of modernity, sophistication and creativity and it has showcased Melbourne to a broader national and international audience.

The planners have successfully recreated the dynamism that has taken centuries to develop in civic squares in the old world. This addition has created a new cultural centre for the city, fulfilling a long held ambition to provide an authentic civic destination. Sara Gaventa ìNew Public spacesî (2006).

Federation Square has cultivated into a place where to the public - anything is possible, with over 2000 events held at the complex annually the city square brings the community together to embrace reconciliation, celebration, and culture!

Federation Square is now the ultimate hub for Melbournians and international tourists. In reference to the Commonwealth closing ceremony in 2006, ìTaking up the message were scores of people representing over 100 different cultures, each carrying a photograph of an ancestor who mage the original journey to settle in Melbourne. The photographs were later reversed to form a giant representation of Federation Square. (Herald Sun, Monday 27th of march 2006). This movement shows that the people of Melbourne have defiantly embraced Federation Square and treat it as there own, as a place where anything is possible, hope is everything and we are one community.

References:

“Federation Square”, Monday 27 March 2006, The Herald Sun Hon. John Brumby (Premier of Victoria), 2008, personal communication, federation square annual report Sara Gaventa, 2006, ‘New Public spaces’, Mitchell Beazley publishing, Australia