Representing a Repressed Society History and Theory, Technical and Professional Studies Module ARM202
Nur Dalila Mohamed Khairi U1234389 th 5 Year, Unit 11 Â
Representing a Repressed Society by Dalila Khairi
Abstract
The essay investigated two projects, one in Basel, Switzerland and another one in Florida, United States of America. Both the examples have similarities in terms of being in control and a very well mastered plan. The reason of this study is to relate with the reading of the book called Society of the Spectacle written by Guy Debord (1977). In the book, Debord traces the growth of a modern society in which the authentic actual life has been replaced by its representation. Everything is related to the representation itself. The medicinal campus called Novartis is like an architectural zoo, filled with bizarre buildings by world-‐renowned architects. They were brought together in one place purposely to attract spectators. The New Urbanist town called Celebration, is a manufactured happiness community that portrays the power of control in an area. Both of the examples show how that the vision of having an ideal place is almost hopeless.
Introduction
We can enjoy and even admire the well made wax fruit and silk flowers, but the pleasure that they generate lies in the recognition of their artistic prowess, not on being taken by them. In our day-‐to-‐day life we all prefer real fruit and flowers. (César Pelli, 1999) This essay discusses the result of an idea or a physical representation formed by two examples, which are Novartis Campus in Basel Switzerland and a master-‐ planned community in Florida called Celebration. This essay topic began as a curiosity question during a visit to Novartis Campus in Basel. The campus seems to have a pretty obvious impression set up for visitors, but at the same time it makes people wonder is it intentionally or the other way around. The initial ideas for this essay are actually rooted in the book called Society of the Spectacle written by Guy Debord (1977). A spectacle can be anything that is presented to the sight or view especially something of a striking and impressive kind. It can also be a public show or display, specifically on a large scale. In this case an excerpt from the book feels like it fits with the impression of the campus; “The spectacle, grasped in totality, is both the result and the project of the existing mode of production. It is not a supplement to the real world, an additional decoration. It is the heart of the unrealism of the real society. In all its specific forms, as information or propaganda, as advertisement or direct entertainment consumption, the spectacle is the present model of socially dominant life. It is the omnipresent affirmation of the choice already made in the production and its collar consumption. The spectacle’s form and content are identically the total justification of the existing system’s conditions and goals. The spectacle is also the permanent presence of this justification, since it occupies the main part of the time lives outside of modern production.” (Debord, 1977)
Figure 01 – The cover of the book Here, what Debord is trying to say is that the spectacle as a whole is both the process and the result. There is no separation between material "real life" and the false represented one, the spectacle. They are intertwined to such a degree that "the true is a moment of the false", by displaying life, the spectacle negates them by reducing them to mere appearance (The Cultural Studies Reader, 2011). It means that it is both real and unreal at the same time and that it comes together as one entity. Also, there is not an option of not having a spectacle, it is there without one realizing it. Both the real and unreal are present at the same time, making its validity of presence everywhere at any times. From this point, the essay will have a chapter on how Debord sees the spectacle and why it can be related to today’s life by studying the example projects. According to Cambridge Dictionary (1999), utopia means the idea of a perfect society in which everyone works well with each other and is happy. The term has been used to describe an attempt to create ideal, imagined or fictional island societies that usually has spawned into concepts. In conjunction with the spectacle, another example has come up with the concept of being in a utopia. Celebration, a master-‐planned gated community in Florida is one of the examples of a theme park urbanism by the Walt Disney Company. Celebration was opened in 1996 and was formulated around the idea that a town should have a certain “look” portrayed on it. The slogan “live, work, and play”, is a design philosophy which comes from New Urbanist literature. New Urbanism is an approach to designing cities, towns, and neighbourhoods. The term New Urbanism has emerged during the late 1980s and early 1990s but the principles of New Urbanism are actually quite old. A group of architects, builders, developers, landscape architects, engineers, planners, real estate professions, and other people have committed to the New Urbanist Ideals and formed The Congress for the New
Urbanism. This group was founded by Peter Katz in 1993 and they have outlined their beliefs in an important document knows as the Charted of the New Urbanism. They are also known as the New Urbanist. Their vision is to try to reduce traffic and also eliminate sprawl. A New Urbanist neighbourhood resembles an old European village with businesses clustered together. By definition, these neighbourhoods enable people to walk to shops, businesses areas, theaters, schools, parks and other important services instead of driving. New Urbanist designers have arranged buildings and recreational parks to encourage a sense of neighborly closeness.
Figure 02 – Celebration, Florida Ironic enough, one of the important points that New Urbanist stresses is the historic preservation. Lots of criticism has been published about these failed ideals of the past, but still in the desire to set up perfect, untainted communities. Going back to one of the New Urbanist example, Celebration, critics have stated that the town was too carefully planned up till the point where it feels very artificial. This will be elaborated more in the essay in relation with a movie called The Truman Show, directed by Peter Weir (1998). The majority of filming took place in a place called Seaside in Florida, a master-‐planned community as well. The movie was being accused as the cause of the initiation of Disney’s town, Celebration and its calculated conflation of nostalgia-‐marketing and urban design.
Figure 03 – A movie poster of The Truman Show Seaside in Florida was one of the first cities in America designed by the principles of New Urbanism. Initially one would think that the town is a movie set when one watches the movie. But it is actually a real town and most people get confused between the real and unreal of the place. Everything was planned through and through and the name Seaside came because it was planned to be in a walking distance to the beach. Nowadays, people who live there tend to rent out their homes catering for people who want to go on a break. Perhaps the town is ideal for a getaway but maybe not a permanent stay? It’s too perfect up to the point people feel uncomfortable living in it. This will come to a conclusion of a closer comparison between the first example, the Novartis Campus and the second one, the master-‐planned community, Celebration. These examples will be discussed accordingly in relation the book, The Society of Spectacle (Debord, 1977), New Urbanist, Utopias, The Truman Show (Peter Weir, 1998) movie and other readings and researches.
Example 1: Novartis Campus, Basel Switzerland Introduction of the company: Based in Basel, Switzerland, Novartis International AG is a Swiss multinational pharmaceutical company. The company was formed in 1996 from the merger of Ciba-‐Giey and Sandoz Laboratories. Novartis produces and manufactures loads of medicine and drugs used by all over the world. It has been around for 250 years. The campus in Basel is now their main headquarters for its research and administration center.
Figure 04-‐ Novartis’s company logo
History of the site: A pesticide production company called Produits Chimniques Ugine Kuhlman was originally operating the site back then. The site had been contaminated with lindane in between 1947 to 1974. In 1973, Sandos (the company’s name before Novartis) purchased the site to build an industrial sewage plant.
Figure 05-‐ Picture of the pesticide production plant with lindane residue around 1972
The campus: Because the campus is the headquarters for the company, Novartis’ chairman named Daniel Vasella has hired Vittoria Magnago Lampugnani, an architect and urban planner to design the scheme of the whole project. When the project was initiated in 2001, Mr. Vasella had imagined that the campus design should center on the productive well-‐being of associates. It was designed based on changing work requirements in a dynamic business environment that flourishes creativity, community and interdisciplinary collaboration. Mr. Vasella has transformed a dilapidated chemical complex into one of the most ambitious undertakings in a decade – one known for its architectural one-‐upmanship. The campus’ objective was to construct according to a long-‐term, flexible master plan that will trace the simple and clear original structure of the existing complex while striving for pleasant surroundings and elegance. Mimicking a formula that has become the norm for big-‐money development in cities as disparate as Las Vegas and Abu Dhabi, he has built more then 10 office and research buildings by hiring an army of world-‐renowned architects from Tadao Ando, Frank Gehry to Alvaro Siza, each a design on its own. Another project that has hired a bunch of world famous architects not far from the campus, is the Vitra Campus. It is a Swiss furniture manufacturer in Wel am Rhein. Critics have said that the campus has become a life size collection of contemporary architecture and modern-‐day classics. It is almost like an architectural petting zoo. Famous architects from the name of Zaha Hadid, Tadao Ando, Herzog de Meuron to Frank Gehry have each designed and built their buildings on the campus.
Figure 06-‐ A rendition of Vitra Campus’ master plan
Restrictions: Getting back to the main example, the Novartis Campus, the whole area portrays as if the campus has a line of architectural treasures that are laid out like jewels in a display case. So nice to see, but not so easy to touch. The campus has been as if affectively placed behind an exclusive velvet rope, restricting public access to the campus. People can only visit at certain times and the visitor has to register in order to get in. You are required to have a visitor’s nametag, than only you can roam around the campus, that is, with some official guide person. During construction, the site is also sealed off from the city not allowing outsiders to take photos at all. This questions the people, why is it so, an enormous and impressive knowledgeable “campus” cannot be shared directly with the public? It is alluring enough for the outsiders to be attracted from far, let alone to see it up close. The campus has lots of parks and courtyards that are decorated with artworks with the intention to be conceived as places of private contemplation. Every square inch, as Mr. Vasella has imagined, was designed to encourage the flow if ideas. Ironic enough, these public spaces are meant to help generate ideas but at the same time the campus is totally restricted from the public.
Figure 07-‐ An aerial view of the campus
Impressions: The core of the master plan was guided by the principles of urban design: like a city, the campus should serve as a place of intensive collaboration that is capable of absorbing and integrating different uses in the course of time. The architects are tied to the master plan, but are largely free to interpret their specific task. It is stated that different architectural ideas have reflect not just the global diversity of Novartis but have also an expression of the combined cultures in the company. The strictly regular layout of the development structure is guided by the basic geometric arrangement of the original factory site. As the central axis, Fabriktasse forms the functional and architectural backbone as well as social centre of the campus with its arcades, restaurants and shops. Parks, avenues and plazas are seen as a completion for the urban ambience and they provide recreational areas and places for encounters. But despite Who’s Who of architects that Mr. Vasella’s campus now boasts, he wants it to be about more than pretty spaces or corporate branding. From the very beginning he saw the design as a way to reorganize the entire social fabric of his company and foster better communication between those who develop and market his drugs. But during the visit to the campus and seeing everything carefully organized like that, you’ll start to wonder: Is it possible to make a rigidly controlled insulated environment that is also human? Because at Novartis, the buildings are like an urban fantasy reflecting a desire for extreme order, anything that might detract from the overall purpose has been carefully filtered out. And at the campus the feeling is further reinforced by a degree of isolation that is unusual even for a corporate campus: there are no poor or homeless people walking the streets, no children, no parents with strollers – not outsiders of any kind. The result is an exclusive and somewhat cool aesthetics oasis in which Novartis can observe how the social ambitious behind its design play out. This comes back to the question of a place that is in between of real and unreal. Debord (1977, p. 3) stated that the official thought of a social organization of appearances is actually ambiguous by the generalized sub communication that it has to defend. It cannot understand that conflict is at the origin of everything in its world. The specialists of spectacular power, (here, meaning Novartis) are absolutely corrupted by their experience of disapproval and by the success of that contempt, because they find their contempt confirmed by their awareness of how truly contemptible spectators are. Mr. Vasella commented about keeping the site to the company and restricting outsiders to even write about it. In an interview about the campus he mentioned this: “the problem is that if you talk too much before you are able to show something, you create more resistance to it” (Ouroussoff, 2009). Here it means that Novartis is influenced by their contempt experience and they use it as a way to set an impression for the visitors.
Using the point of impression, the Novartis campus seems to have planned how public or outsiders would view the campus. Even though Lampugnani has set the rules for all those world famous architects to build the buildings, it still feels erroneous to hire that amount of architects for one huge campus. One could imagine how much the cost would be and one would know how proud Novartis of its campus. Mr. Vasella explained that he really wanted the campus to be up to the standards for the people they hire have come to expect (Ouroussoff, 2009). But then again, one could obviously how the buildings are brought together in one place merely for the purpose of attracting spectators. Satisfaction: In relation to the book, Society of the Spectacle (Debord, 1977), Debord stated that “The satisfaction which no longer comes from the use of abundant commodities is now sought in the recognition of their value as commodities: the use of commodities becomes sufficient unto itself”. It means that the commodities or something of use have no longer any essential values, but rather the recognition or widely known as branding of the commodities has the spectacular value. For instance, people nowadays are not satisfied by the necessities themselves, but rather the “branding” of the necessities. In this case, the urge to brand the headquarters into a campus by hiring world famous architects seems rather more satisfying and appeasing to the company itself. But the necessity of having that kind of branding is actually not needed.
Figure 08 – Fabriktrasse 12, by Vittorio Magnago Lampugnani
Figure 09 – Fabrikstrasse 15, by Frank Gehry Erasing: The decision to demolish almost all of the old buildings was somewhat a step to achieve the desire to create an imaginary island or some might say a utopia. The expression utopia describes an imaginary ideal society free of poverty and suffering. It also means any visionary system of political or social perfection. With all its buildings in a grid built by these famous architects, it is a proof that Novartis has gone all out in creating a utopian campus. But the overwhelming sense of obsessive cleanliness can get pretty wearying, as does the monoculture of most of the buildings, often in blander, all of them planned and uniform. This, is often thought, is the Modernist imperative, but can we actually, or should we, try and excavate utopia? Such perfection and precision of a place can sometimes feel unreal. As mentioned above, the campus is very well organized with parks and public facilities, even smokers are prohibited from smoking in the campus (not that it’s a bad thing), but because it does feel like people are being controlled and monitored makes it even more unreal. The more you think about it, the more everything relates to setting up an impression towards the campus. Impressive buildings by impressive architects are a tool for showing off Novartis’ wealth and success. The campus is kind of like a place for exhibiting architecture, like an exposition or a theme park like Disneyland. It shows the wealth and the power to have such buildings and call it a campus. From here, the essay will move on to the second example, which is the town called Celebration, in Florida. It also has the vision of being in a utopia.
Example 2: Celebration, Florida U.S.A
Introduction of the town: Located in Osceola County, Florida, Celebration is a census-‐designated place and a master-‐planned community. It is also located near Walt Disney World Resort and originally developed by The Walt Disney Company.
Figure 10 – A billboard for Celebration
Disney followed its plans after the succession of founding Celebration to deprive most of its control of the town. Services for the town like office buildings and two utility companies continue to occupy the town. The town itself remains connected to the resort via its primary street called World Drive. Because Celebration is one of the examples for the New Urbanists’ work, it was meant to follow one of its design elements, which is to provide streets that form a connected network. This network is meant to disperse traffic and suggesting people to commute to work without driving. Well-‐known architects including Charles Moore, Graham Gund, Cesar Pelli, Robert Venturi and Denise Scott Brown are amongst the ones who designed the buildings around the town. There is a post office, a welcome center and a hospital named Celebration Health building that are designed to become landmarks in the town.
Figure 11 – Celebration Health, by Robert A. M. Stern
Cooper, Robertson & Partners, and Robert A.M. Stern were the people who developed the master plan while all the extensive landscapes, parks, and pathways were designed by the San Francisco firm EDAW. An especially keen interest was taken by Disney’s CEO, Michael Eisner in the development company to make history and develop a town worthy to the Disney brand. He was also interested in the legacy that extended Walt Disney’s vision of an Experimental Prototype Community of Tomorrow. Celebration is divided into sections referred to as villages. The closest to downtown, which is the main village, is where the first homes were constructed. Following the principles of New Urbanism, homes and condominiums were constructed along the streets, having parking lots and garage doors rarely front the street. Parking is relegated to the rear buildings, usually accessed by alleys. It is also to keep the look of home fronts and sidewalks pristine, giving a very well catered neighborhood look. Celebration, a creepy town:
Figure 12 – Celebration, view from the lake When Walt Disney Company opened the gates to its own New Urbanist Village, the response to the town has been mixed. Some feeling it is a bit creepy, one resident even admitting it is Stepford Wife-‐like, not the expected response as it was supposed to be an example of new urbanism with its safe and walkable community. Critiques have talked about the rigidity of their homeowner rules, town appearance, and general way of living (Pilkington, 2010). The town seems to seek to modify a community’s behavior and feeling through design. Apparently if a person would walk down the main street of the town, which is called Market Street, one would be bowled over by the quaint, dreamy and fantasy like of it all. It is almost identical to walking down Main Street at the Magic Kingdom.
To walk in that kind of ambience is most probably expected when one goes to a theme park, but its translation to an actual town is a bit discomfiting. The projected image of the town is mostly all about control. The designers had built the town as if it is a “toy town” in a bigger scale. Critiques have also mentioned that the New Urbanist communities look fake and unreal or seem too carefully considered, to be nostalgic. Therefore, when the designers built as if it is a “toy town”, it actually gave the adults the same feeling of mastery and in control, and that all the children feel when playing with dollhouses, miniature villages or even a model train layout. In relation to this, an excerpt from the book, Society of the Spectacle reads: “What hides under the spectacular oppositions is a unity of misery. Behind the masks of total choice, different forms of the same alienation confront each other, all of them built on real contradictions which are repressed. The spectacle exists in a concentrated or a diffuse form depending on the necessities of the particular stage of misery which it denies and supports. In both cases, the spectacle is nothing more than an image of happy unification surrounded by desolation and fear at the tranquil center of misery. “ (Debord, 1977) From the excerpt, Debord is saying that the opposite of spectacular is a unity of extreme unhappiness. Behind every choice, there are loads of differences and that they have been united and in control. As spectacular as the town Celebration sounds, there is actually an unhappiness feeling towards it. The differences could be the buildings, the accesses, the names of the streets and even the bland placing of everything. The spectacle can exist or disperse based on the needs of the particular stage of extreme unhappiness. It is actually an image projected by the unity of misery to show happiness and lightweight of things (or life) but actually is surrounded by fear. The image Disney is trying to project on the town is absolute happiness, therefore it sees cleanliness and everything in its placed as a neighbourhood virtue.
Building a utopia: The town was originally attempting to fall into the new urban category and it is relatively exclusive, separate entity from the rest of the city, which violates the concept of community planning and urban organization that new urbanism strives to achieve. As it separates itself from the rest of the city, it gives the impression that the town is trying to be on its own island, best described as trying to be in a utopia. Again, utopia here expresses a place that wants to be in an imaginary island, being in an untainted community that is ideal and free of poverty and suffering. Celebration has projected a very happy image for the community and the town. Similar to the Novartis campus, its obsessive of having a pristine image is very tiring and exhausting at the same time. All of the buildings are very well placed and all of the streets are perfectly covered with shady trees makes the town feel very pretentious and unreal. Again the question lingers, should we build and live in a utopia?
Figure 13 – A view of street in the town of Celebration As Debord states, “The unreal unity proclaimed by the spectacle masks the class division on which the real unity of the capitalist mode of the production rests. What obliges the producers to participate in the construction of the world is also what separates them from it. What brings them together men liberated from their local and national boundaries is also what pulls them apart. What requires more profound rationality is also what nourishes the irrationality of hierarchic exploitation and repression. What creates the abstract power of society creates its concrete unfreedom”. (Debord, 1977)
Here it means that the artificial oneness by the spectacle is actually hiding the class of separation. What makes the designers to participate in building the world is also what forces them to be disconnected from it. What brings them into one is when they are set free from the local and national boundaries, but at the same time forces them to be apart as well. How to rationalize the use of hierarchy and to be in control is also the illogical action of it. The truth on how to create the power of the society is a solid lack of freedom. In conjunction with Celebration, the artificial image of having a well-‐controlled town is in fact hiding a gap or some missing pieces of the town. By building an imaginary dream island-‐like, the mission is to make a perfect and untainted place where actually being so perfect means that one is actually not in control. Because of everything has been planned and carefully thought of, therefore the design of the town was actually in complete freedom. And to create the power of the society is to have the lack of freedom. In conclusion, with all the negative criticisms that has been going on about the town, building a utopia is not the solution of having a perfect community.
Figure 14 – The “pristine” image of a row of houses
Conclusion
This study has found that there are similarities in the means of control in both of the projects. One is a medicinal campus, and another one is a master-‐planned community. Novartis is a perfect example of an architectural zoo. The campus has a collection of exotic and spectacular buildings brought together for the purpose of attracting spectators. Restricted, but alluring. Just like the campus restricting outsiders, and animals in the zoo trapped in the cage. From the readings of the book, Society of the Spectacle (Debord, 1977), Debord has written what was happening before in his time is actually still happening now. It relates so well that every chapter can be used to interpret the things that are going on nowadays, either architecturally or just things in a person’s daily life. These findings enhance our understanding towards a collective project such as Novartis. One can see impressive buildings at one go, but one maybe cannot judge it accordingly. Meanwhile, on the other example, Celebration, it has come to a conclusion that this controlled residential community has been designed to “look” like the representation of the community where all the buildings “fit in” with one another. Such controlled places have made people aware that it is not ideal, after all. From the findings in relation to this example, people are quite aware of how unrealistic these places are which is positively good because not everybody has the ideal idea in their heads. Another excerpt from the book, “The spectacle presents itself simultaneously as all of society, as part of society, and as instrument of unification. As a part of society it is specifically the sector which concentrates all gazing and all consciousness. Due to the very fact that this sector is separate, it is the common ground of the deceived gaze and false consciousness, and the unification it achieves is nothing but an official language of separation”. (Debord, 1977) The representation happens concurrently as a whole, as a part and also as a tool of oneness. As a part of the society, the spectacle is the part that focuses on all of the real and unreal. Because they are both two different elements, both of them have decided to agree with the falseness of dreams and the consciousness that lie. This combination has achieved an official language of differences. Interpreting it in relation to the examples, a spectacle happens when the real and unreal combines. From this combination the differences could be seen clearly, whether as a whole society or just a part of it. The problem with these exampled projects is that the spectacle was not in two separate identities that happen at the same time. The real and unreal seems confusing on the projects, wanting them both to be as the projected image of those places. Thus the idea of being in an unreal environment, also known as utopia, an imaginary township, is the result of how the New Urbanist thinks.
The example projects have lead to many other similar projects that share the same vision and the realization of the things that are going on in the world is pretty amusing. From housing estates, to furniture manufacturers and also movies, these types of projects are actually hungry for attention. Taken together, these findings also suggest that both of the examples are corporate and that the public relations are intrinsic to the company policies. In a way, it gives an impression of how some corporate companies are able to show their wealth and greed through buildings. Everything is related to control and being in power, the things that people can see and eventually live in are actually manufactured happiness.
References
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List of Images Figure 01 – Eyerman J.R. (1952) Life. Available at: http://mrzine.monthlyreview.org/2010/power140410.html (Downloaded: 15 December 2013). Figure 02 – Pryor J. (2008) Celebration. Available at: http://jeremypryor.wordpress.com/2008/01/13/new-‐urbanism-‐an-‐experience-‐ inside-‐the-‐town-‐of-‐celebration/ (Downloaded: 3 January 2014). Figure 03 – Paramount P. (1998) The Truman Show. Available at: http://marillesblog.files.wordpress.com/2011/04/die-‐truman-‐show-‐004.jpg (Downloaded: 2 January 2014). Figure 04 – Novartis (2007) Novartis.svg. Available at: http://en.wikipedia.org/wiki/File:Novartis.svg (Downloaded: 20 December 2013). Figure 05 – ARA STEIH (1972) Geschichte-‐steih. Available at: http://sanierung-‐ steih.ch/en/the-‐history/ (Downloaded: 18 December 2013). Figure 06 – Juluis (2013) Vitra Campus. Available at: http://www.juluis.com/en/nuevo-‐edificio-‐vitra-‐campus-‐de-‐sanaa/juluis-‐nuevo-‐ edificio-‐vitra-‐campus-‐de-‐sanaa-‐06/ (Downloaded: 2 January 2014). Figure 07 – Phaidon (2010) Novartis headquarters campus, Basel, Switzerland. Available at: http://uk.phaidon.com/agenda/architecture/picture-‐ galleries/2011/january/25/the-‐novartis-‐headquarters-‐campus-‐an-‐aerial-‐view/ (Downloaded: 21 December 2013). Figure 08 – Zimmermann H. (2009) Novartis campus. Available at: http://graphics8.nytimes.com/images/2009/12/27/arts/27novartis_CA0/popup.jp g (Downloaded: 22 December 2013). Figure 09 – Finn R. (2010) Novartis Gehry Building. Available at: http://www.vmspace.com/eng/sub_emagazine_view.asp?idx=10724 (Downloaded: 22 December 2013). Figure 10 – Doll J. (2010) Ooh – awkward. Available at: http://blogs.villagevoice.com/runninscared/2010/12/celebration_flo.php (Downloaded: 2 January 2014). Figure 11 – Stern A.M. (1996) Celebration Health. Available at: http://www.bluffton.edu/~sullivanm/florida/disney/stern/health.html (Downloaded: 30 December 2013)
Figure 12 – Almond S. (2010) Downtown Celebration. Available at: http://www.34747.com/celebration_photos/default.aspx (Downloaded: 30 December 2013) Figure 13 – Strout J. (2011) Celebration Florida. Available at: http://blogs.orlandoweekly.com/index.php/orlando-‐music-‐news/beatdown/felice-‐ brothers-‐name-‐new-‐album-‐after-‐orlandos-‐creepy-‐pleasantville/ (Downloaded: 31 December 2013) Figure 14 – (2010) Celebration. Available at: http://www.tweetsandtrends.com/celebration-‐florida-‐first-‐killing-‐on-‐record (Downloaded: 31 December 2013)