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                <text>According to what the American artist Robert Smithson means by his use of the concept of entropy in the case of his analysis of the phenomenon of modern suburbs, the present discussion will explore his critique of the suburban landscape and the estheticism he developed in reaction to it. Through my use of the concept of negentropy, I try to demonstrate that our reflex of making sense by way of art in the context of every day life is an expression of the negentropic effect itself.</text>
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                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal 2012</text>
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                <text>entropie</text>
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                <text>L'expérience de la transformation du territoire - L'entropie et la néguentropie à l'œuvre</text>
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                <text>The international community takes up arms more and more frequently against loss or failure of a district or a building where the atmosphere is typical of a historical identity. As a memorial relic, the atmosphere and its urban or architectural matrix, are sometimes recovered by heritage policies to transform them into static or frozen objects. Is it possible, or desirable, to make these environments a part of our cultural inheritance and, by the way, convert them into economical objects? Which values do they seek to defend? And, finally, what does this request of cultural inheritance means for our societies and their view toward the future?</text>
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                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Le paradoxe de la patrimonialisation des ambiances</text>
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                <text>This paper examines the role of expectation of two different aspects of urban ambiance (smell and sound), on people's experiences and perceptions of urban environments. It draws from two separate sensewalking studies of English cities. The first, examining expectations of odor in Doncaster, Manchester, Sheffield and London: the second, expectations of soundscapes in Manchester and London. In drawing from these investigations, sensory expectations are found highly influential in urban place experience and perception, providing different layers of meaning and understanding of place. Furthermore, perceptions of odors and sounds themselves (their detection and mental processing) are also revealed as influenced by the environmental context within which they are, or are not, detected.</text>
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                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal 2012</text>
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                <text>Smell and sound expectation and the ambiances of English cities</text>
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                <text>Hollard, Arnaud</text>
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                <text>This article aims at discussing the role of atmospheres in recent French urban renewal operations, mostly focused on the demolition of the "grands ensembles", large housing units built from the 50's until the end of the 60's. Along with the economic and technical reasons that might imply those spectacular operations, the need to change the image or the ambiance of a neighbourhood or of a city is frequently called as an argument to defend them. By comparing different cases of urban renewal implying either demolition or conservation of the built environment, I propose to show, at the opposite, how demolition turns to be a negation of the ambiantal awareness, and how ambiances can become an operative concept, not to be merely opposed to demolition, but to be considered as a decision-making tool for re-shaping of the built environment.</text>
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                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal 2012</text>
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                <text>Renouveler le renouvellement urbain ? Les ambiances face aux enjeux de la rénovation des grands ensembles</text>
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                <text>Faure, Anne</text>
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            <name>Date</name>
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            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="485245">
                <text>Contemporary Western architecture occasionally seeks help from the visual arts. This relationship, which at times can be very intense, allows for hybrids that transform our perception of architecture. The encounter between the academic disciplines in this regard becomes a tool of perception that creates a dialogue between the observer and the built space. We use the moving image and more specifically, digital video in order to create this dialogue. The juxtaposition of images through collages and montages acts as a "trigger" of ideas that enable us to create interpretations that remain sensitive to space.</text>
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                <text>http://halshs.archives-ouvertes.fr/halshs-00745527</text>
              </elementText>
              <elementText elementTextId="485247">
                <text>http://halshs.archives-ouvertes.fr/docs/00/74/55/27/PDF/ambiances2012_faure.pdf</text>
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            <description>A language of the resource</description>
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              <elementText elementTextId="485248">
                <text>FRE</text>
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              <elementText elementTextId="485249">
                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal 2012</text>
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            </elementTextContainer>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="485251">
                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
              </elementText>
              <elementText elementTextId="485252">
                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
              </elementText>
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                <text>perception</text>
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                <text>moving image</text>
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                <text>visual arts</text>
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                <text>architecture</text>
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                <text>collage</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Croiser l'architecture et les arts visuels pour révéler l'espace - Une expérimentation par la vidéo</text>
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          </element>
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            <description>The nature or genre of the resource</description>
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              <description>An account of the resource</description>
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                  <text>HAL</text>
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            <name>Coverage</name>
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                <text>Montreal</text>
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                <text>Canada</text>
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                <text>Robin, Julie</text>
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            <name>Date</name>
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            <elementTextContainer>
              <elementText elementTextId="485222">
                <text>2012</text>
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            <elementTextContainer>
              <elementText elementTextId="485223">
                <text>As an architect and urban planner, the fact of considering each major city as a potential metropolis raises several questions: some cities have a marketing and political issue; the rest require a spatial planning strategy... From which basis should the architect-planner work? Isn't there a danger of contributing to a disembodied, smooth and homogenous vision of a district that bears no resemblance to reality? It seems therefore necessary to consider a cross-functional approach that can place the individual at the heart of each space while questioning the scale of the city. My approach questions the resonance between "body-space" and "individual-society" at multiple scales, ranging from the metropolis to the smallest architectural object: the objective is to understand the dialogues, the borders and the gaps that each space brings into play.</text>
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            <elementTextContainer>
              <elementText elementTextId="485224">
                <text>http://halshs.archives-ouvertes.fr/halshs-00745530</text>
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              <elementText elementTextId="485225">
                <text>http://halshs.archives-ouvertes.fr/docs/00/74/55/30/PDF/ambiances2012_robin.pdf</text>
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            </elementTextContainer>
          </element>
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            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="485226">
                <text>FRE</text>
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            <elementTextContainer>
              <elementText elementTextId="485227">
                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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              <elementText elementTextId="485228">
                <text>Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal 2012</text>
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            </elementTextContainer>
          </element>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="485229">
                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
              </elementText>
              <elementText elementTextId="485230">
                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
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                <text>space</text>
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                <text>body</text>
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                <text>scale</text>
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                <text>figure</text>
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                <text>rhythm</text>
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                <text>metropolis</text>
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                <text>daily</text>
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              <elementText elementTextId="485238">
                <text>interaction</text>
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          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="485239">
                <text>De la métropole au trottoir - Saisir la ville à travers l'individu, saisir l'espace à travers le corps</text>
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            </elementTextContainer>
          </element>
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            <description>The nature or genre of the resource</description>
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                <text>conference proceeding</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Archives ouvertes des études urbaines</text>
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              <description>An account of the resource</description>
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                <text>Montreal</text>
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                <text>Canada</text>
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            </elementTextContainer>
          </element>
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                <text>Cudmore, Jaimie</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="485203">
                <text>2012</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="485204">
                <text>Understanding graffiti and other non-verbal communication as a form of ambiance may open professionals to more participatory methods, deepening the quality of the city for the user. This project offers an approach for planners and designers to learn from the active resistance of the norms of use in public space. By a brief review of graffiti literature and a discussion of observations of graffiti tags made on walks in the Montréal City borough Notre-Dame-de-Grâce, tactics for encouraging participation and conversation with liminal space through the lens of the non-verbal communication of graffiti are proposed.</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>http://halshs.archives-ouvertes.fr/halshs-00745532</text>
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              <elementText elementTextId="485206">
                <text>http://halshs.archives-ouvertes.fr/docs/00/74/55/32/PDF/ambiances2012_cudmore.pdf</text>
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            <description>A language of the resource</description>
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              <elementText elementTextId="485207">
                <text>ENG</text>
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            <name>Source</name>
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              <elementText elementTextId="485208">
                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal 2012</text>
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            </elementTextContainer>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="485210">
                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
              </elementText>
              <elementText elementTextId="485211">
                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
              </elementText>
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                <text>graffiti</text>
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                <text>public space</text>
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                <text>participation</text>
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                <text>urban design</text>
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                <text>tactics</text>
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          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Considering graffiti as active ambiance creation in public space</text>
              </elementText>
            </elementTextContainer>
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            <description>The nature or genre of the resource</description>
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              <elementText elementTextId="485179">
                <text>Montreal</text>
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                <text>Canada</text>
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          <element elementId="39">
            <name>Creator</name>
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              <elementText elementTextId="485181">
                <text>Sand, Monica</text>
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              <elementText elementTextId="485182">
                <text>Atienza, Ricardo</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="485183">
                <text>2012</text>
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            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="485184">
                <text>Visual representations and emphasis of the individual hide the complexity of the urban collective actions. Social and natural rhythms compose the immediate, intuitive expression of urban ambiences. In this artistic research project the intention is to, by experimentation, reveal qualities, temporal aspects and embodied perceptions of the social ambience situations that constitute the corporeal collective rhythm of the city. Immersed in the situation, in situ, as pedestrians, citizens, artists and researchers we take part in and invite "the audience" to participate in playful events. "Bodies in motion" serve as scale, tool and reference system in methodological approaches, based on concepts as resonance, improvisations and variations, as both descriptions of urban life and practical tools for collective actions.</text>
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            </elementTextContainer>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="485185">
                <text>http://halshs.archives-ouvertes.fr/halshs-00745533</text>
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              <elementText elementTextId="485186">
                <text>http://halshs.archives-ouvertes.fr/docs/00/74/55/33/PDF/ambiances2012_sand_atienza.pdf</text>
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            </elementTextContainer>
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            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="485187">
                <text>ENG</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="485188">
                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal 2012</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="485190">
                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
              </elementText>
              <elementText elementTextId="485191">
                <text>[SHS:SOCIO] Humanities and Social Sciences/Sociology</text>
              </elementText>
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                <text>play</text>
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                <text>in situ</text>
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                <text>The sonic niche is a design tool I first conceived for the project Soundscapes Oltrarno, in its "digital" version, where we can see it realized through the application of "Spot Sounds" and the use of new digital technologies. I subsequently theorized it in my doctoral dissertation as "a relational sonic space of intimacy and sharing whose changing boundaries are defined each time by its own structural and sound qualities" (Radicchi, 2010). The expressive possibilities offered by the sonic niche, in addition to its digital approach, are many. It is possible to change shapes, materials and soundscapes according to the purpose to be achieved and the place of its setting. The paper presents several design projects where the sonic niche was applied to enhance and create urban atmospheres in the city of Florence (IT): Soundscapes Oltrarno, SMLXL, Le Piagge: Listen!</text>
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                <text>The sonic niche - A new design tool to enhance and create atmospheres with sounds in the contemporary city</text>
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                <text>Through artistic means, this research deals with the notion of 'Auditory Spatial Awareness' as initially developed by Barry Blesser and Linda-Ruth Salter in "Spaces Speak are you listening, experiencing aural architecture" published at the MIT press in 2007. By exploring our capacity of capturing an emotional and behavioral experience of ourselves and our space through sound, this investigation raises questions about the resonance, the orientation, and the expansion of the body's limits through sound in space. "Auditory Spatial Awareness in Action" is staged in urban spaces and more specifically in "non-spaces" (Augé, 1992). It reveals itself to be not only a search for our memory through sound but also the experience of an aural spatial memory.</text>
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                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal 2012</text>
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                <text>SONAR - An introduction to "Auditory Spatial Awareness" in action</text>
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                <text>Richer, Jean-François</text>
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                <text>In Balzac's Human Comedy, not a man, not a place, not a landscape comes into being, into prose, without its own particular soundtrack. From the noises of everyday objects to the bustling Parisian streets, from the screams of the swine to the sigh of the dying, Balzac's fictional society is everything but silent. Using the lexicon developed by Jean-François Augoyard and his team in their 1995 Répertoire des effets sonores, we propose an analysis of two especially rich acoustic scenes, one taken from Le Père Goriot, the second from a lesser known short story: Z. Marcas. Unfolding the intricate network of sound effects that binds fictional characters with surroundings, allows us to see that ambiances, as the matrix where men and places recreate each other, are the very fabric of the balzacian novel.</text>
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                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Ambiances balzaciennes - La poétique des effets sonores dans La Comédie humaine d'Honoré de Balzac</text>
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                <text>This paper presents a territorial and anthropological research that produced the film "Stagioni e salotti sul Lemene". The documentary is set in the Italian regions of Veneto and Friuli and it shows the inhabitants as actors and as productors of the social and cultural atmosphere. We want to demonstrate that the audiovisual support could be a very useful tool for planners and architects. It represents and conveys the local atmosphere in order to protect the natural and cultural heritage. The film shows a sensitive and aesthetic tour on the magical Lemene river in the countryside of Venice. The landscape changes according to the musical rythm of Vivaldi's Four Seasons. This movie won the identity film festival in Italy (2011).</text>
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                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>In most urban settings, the multiplicity of human voices in a constant state of acoustic irradiation is overwhelming. They define territories, in conversation, in public transportation, in the, sometimes awkward, transitions between private and public place. They resonate identity, they are biographical sound happenings and they turn every listener into a bearer of this shared individuality. In the context of my interdisciplinary PhD research on voice as acoustic presence, inquired through the scopes of phenomenology of sound, and artistic research in the realms of documentary and sound art, this paper aims to discuss the voice as a modulator of acoustic territories in both its transgressive and communal potential.</text>
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                <text>Bounding and breaking - An inquiry on the voicing of acoustic territories</text>
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                <text>Doucet, Danielle</text>
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                <text>Discourse analysis shows that transformation of the ambiance, considered dull and cold, of Montreal in the 1950s was meant by the actors of the public art world: artist, architect, sponsor and critic alike. Their writings reveal a shared agreement to the effect that brightly coloured abstract geometric mural must counter the so-called nudity of the modern building, humanizing it by its beauty and its vitality. This modern public mural is a major innovation because it modified the aesthetic conventions of figuration and faded ambiance by one more contrasted, and the symbolic convention of commemoration, thus transforming the urban ambiance.</text>
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                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>L'ambiance attendue par le monde de l'art public à Montréal dans les années 1950 - Le discours d'humanisation de l'édifice et de la ville par l'œuvre murale abstraite géométrique vivement colorée</text>
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                <text>Linnet, Jeppe Trolle</text>
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                <text>Based on ethnographic observations and interviews in cafés in Copenhagen, and online descriptions in which users review their experience of cafés, this paper focuses on how materiality and sociality inter-relate to constitute a relaxed, pleasant sense of atmosphere: that which in Denmark as known as "hygge". Specific attention is given to material structures and social practices that create a sense of interiority.</text>
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                <text>http://halshs.archives-ouvertes.fr/docs/00/74/55/38/PDF/ambiances2012_linnet.pdf</text>
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                <text>Ambiances in action. Proceedings of the 2nd International Congress on Ambiances / Ambiances en acte(s). Actes du 2nd Congrès International sur les Ambiances</text>
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                <text>Ambiances in action / Ambiances en acte(s) - International Congress on Ambiances, Montreal 2012</text>
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                <text>[SHS:ARCHI] Humanities and Social Sciences/Architecture, space management</text>
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                <text>atmosphere</text>
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                <text>coziness</text>
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                <text>interiority</text>
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                <text>sociality</text>
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                <text>materiality</text>
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                <text>The social-material performance of cozy interiority</text>
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                <text>2004</text>
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                <text>Le 14 juillet 1953, la police ouvre le feu sur le cortège du Mouvement pour le triomphe des libertés démocratiques (MTLD) qui hésite à se disperser, place de la Nation, et dont quelques membres semblent vouloir apurer un contentieux violent qui couve depuis les défilés de mai 1952 pour la libération de Messali Hadj. S'ajoutant aux 5 morts de ces manifestations organisées en marge des mobilisations contre le général Ridgway dénoncé comme " Ridgway la peste "[1], 7 personnes dont 6 Algériens décèdent sous les balles et les coups de la police parisienne[2]. En interne, des responsables du maintien de l'ordre présents lors du " défilé de défense des libertés " du 14 juillet 1953 n'hésitent pas à reconnaître que les gardiens de la paix ont outrepassé les règles de l'usage des armes et agi en " système d'auto-défense " contre " des malfaiteurs [...] vivant en marge de la société et à ses dépens "[3]. Une partie de la presse prend pourtant prétexte de la supposée " émeute "[4] des Algériens pour réclamer la création d'un service de police spécialisé dans l'encadrement et la surveillance de cette population. Dès le 21 juillet[5] est annoncée la création d'une Brigade des agressions et violences (BAV). Cette décision marque une nouvelle étape dans un débat qui n'a jamais vraiment cessé depuis le début des années 1920 et ressurgit périodiquement depuis la dissolution du service d'assistance aux indigènes nord-africains (SAINA) en juillet 1945 : la présence de dizaines de milliers d'Algériens dans le département de la Seine nécessite-t-elle la création d'une police aux prérogatives spécifiques ou la marche vers l'assimilation juridique et sociale de cette population implique-t-elle un traitement policier de droit commun ?</text>
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                <text>http://hal.archives-ouvertes.fr/hal-00745453</text>
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                <text>En juillet 1953, la création de la brigade des agressions et violences (BAV) apparaît comme une victoire pour ceux qui, depuis la Libération, n'ont jamais admis la dissolution de la brigade nord-africaine (BNA) de la préfecture de police de Paris. L'étude de la BAV, entre 1953 et 1962, montre que ce service (dont les prérogatives évoluent au cours de la période) était défini non en fonction de ses attributions, mais par la population dont il avait la charge. Cette police coloniale au cœur de la capitale a cependant refusé certaines des évolutions prônées par le préfet Papon au nom de la " guerre contre-révolutionnaire " qui visait le Front de libération nationale.</text>
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