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He even shares the same kink as her but as a Banshee, for her to become pregnant, she has to sing her mating song and no human has ever survived the mating call of a Banshee. Flannery is pisssed when the long blonde haired woman appears on his doorstep in the deep of the night.
Despite being aroused by the banshee, he knows what Bile wants and he'll be damned if he'll give him it. Desire is the structuring principle of literature in that it drives a narrative and seduces readers by working on their own expectations, anticipations, and need for fulfilment of desires.
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Teachers in the News: The Crime of Child Seduction
In celebrating flexibility and agency, this narrative neglects the contingent arrangements necessary for projects of temporary use to take place: the uncertain preparation, the delays in gaining access to sites, in finding resources and funds to sustain them, the need to draw from personal networks at short notice and the organisational issues that this can bring to an urban project, just to name a few.
The stress on the resourcefulness, agency and ingenuity of urban practitioners is not only a successful rhetorical device to brush aside material considerations: it also offers a mode of identification with the values of flexibility and connectivity under conditions of scarcity. Lacking material resources, it allows the celebration of precariousness and insecurity as a position of power, rather than of powerlessness, in regard to the possibility of intervening in urban dynamics.
As clearly stated in the preface of Urban pioneers , there are two types of temporary urban projects:.
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At the utmost, practitioners and coordinators organising these plans can hope for their activities being incorporated in the blueprint of future plans in the form of incremental development Temporary Mobile Everlasting, If temporary urbanism fundamentally reproduces and subordinates its incarnations to existing logics of real estate investment and speculation, then temporary practices of reuse seem to indicate, rather than a utopian future, further dispossession and accumulation of wealth in the hands of a privileged few. The appropriation of collectively produced creative value through ephemeral coming-together at the neighbourhood level has been questioned by several commentators, particularly in relation to values of networked and informal urban sociability Lloyd, ; Arvidsson, This apparently theoretical point might be useful to critically analyse the implications of the two seductions of low-budget temporary projects for the conceptualisation of modes of intervening in urban time-spaces.
If time and space are to be conceived as multiple, relational and mutually constitutive, then urban time-spaces too need to be understood as multiple and co-produced May and Thrift, Slippages and old conceptualisations of time-space, however, still permeate mainstream urban imaginaries and the languages used to define them.
This distinction between urban space as fixed and temporary action as dynamic can be found in the unspoken assumption that temporary urban practices bring dynamism and mobility to the allegedly static social and built fabric of cities. Such a space is the sphere in which distinct stories coexist, meet up, affect each other, come into conflict or cooperate.
This space is not static, not a cross-section through time; it is disrupted, active and generative. Massey, By disregarding the open dynamism and multiplicity of urban time-spaces, rather than offering solutions to spatial scarcity, the promotion of temporary use can be seen as symptomatic of and mystifying another kind of scarcity, which could be called a temporal scarcity.
In celebrating temporary low-budget urban projects as forms of urban ingenuity and spatial re-appropriation, it is easy to forget that in their flexibility they also embody forms of temporal foreclosure. The appeal to practitioners, professionals and activists to engage in the temporary disruption of what is portrayed as mono-rhythmic city may thus be simultaneously the greatest seduction and the greatest mystification of temporary low-budget urbanism.
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Deconstructing this narrative means to deflate the expectation of immediate change in order to retain conceptualisations of the city as continuously produced through dynamic and multiple space-times, and requires an ability to think about longer-term and wider alliances and forms of organising beyond the connectionist ideal of flexible and precarious urban actors.
On a more theoretical level, critically deconstructing the ways in which time and space are pitched against each other in the temporary urbanism narrative offers a different way of imagining temporary reuse towards a radical openness of the urban future. Time and space must be thought together, therefore, for they are inextricably intermixed.