Title:
The Commodification of the third Space and the role artist have taken to reclaim it.
Author: Publication Year/Date: May 2024
Kaya LambieDocument Version: Fine Art Hons dissertation
License: CC-BY-NC-ND
https://creativecommons.org/licenses/bync-nd/4.0/
DOI: https://doi.org/10.20933/100001303
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The Commodification of the third Space and the role artist have taken to reclaim it.
by Kaya LambieSubmitted to Department of Fine Art & Philosophy Dundee University
For the joint Degree of Bachelor of Fine Art & Philosophy January 2024
Table of Contents Abstract
1. Introduction
2. The commodification of the third space: a Marx’s analysis
3. Homogenisation of space
4. Artists Reclaiming Third Space
5. Conclusion Bibliography
List of Illustrations
1. sep120 / Stockimo / Alamy Stock Photo, (2021) Jenny Holzer, Abuse of Power Comes As No Surprise and Moral Injury - photography - [online] available from: https://www.alamy.com/january-2021-jenny-holzer-abuse-of-power-comes-as-nosurprise-truisms-197779-and-moral-injury-near-the-massachusetts-museum-ofcontemporary-art-north-adams-massachusetts-usa-image311972571.html (accessed on December 20th, 2023)
2. John Marchael, (1985) Jenny Holzer, Protect me from what I want – photography[online] available from: https://www.tate.org.uk/art/artists/jenny-holzer-1307/5-waysjenny-holzer-brought-art-streets (accessed January 3rd, 2024)
3. George Etheredge, (2019) No Loitering – photography [online] available from: https://www.nytimes.com/2019/11/08/nyregion/hostile-architecture-nyc.html (accessed January 6th 2023)
4. Hinrich Schultze, (1998) Park Life, Park fiction rave around the park fiction container – photography - [online] available from: https://www.an.co.uk/media/95119/ (accessed January 3rd, 2024)
5. David Burghardt, (2005-2023) Park Fiction recent – photography - [online] available from: https://www.cool-cities.com/park-fiction-14372/ (accessed December 20th, 2023)
Abstract
This essay critically examines the transformation of communal spaces, in particularly the third space within a capitalist framework, emphasising the complex relationship between capitalism and the restructuring of communal environments. Drawing on Karl Marx's theory of commodification as a foundational lens with considerations of Antonio Gramsci's cultural hegemony theory. The analysis begins with an understanding of what the third space is and how Marx’s conceptualisation on commodification can advance our understanding of why these spaces are diminishing. Furthermore, exploring the ethical implications and significance of commodification in a Western context, shedding light on the profound consequences for community identity and inclusivity. This thesis highlights the significant roles of institutions and urban planning to acknowledge their impact on the commodification and gentrification process. It explores the third space through Guy Debord's 'Spectacle' and the loss of the "sense of space" (Debord, 1995). The essay underlines the intersectionality of the third space concerning public participation, grassroots projects, and the ethical implications of disappearing communal spaces. The essay also explores the involvement of artists reclaiming and resisting commodification through work for the public to create a sight of a vision of a post-commodified third space.
1. Introduction
In the subtleties of contemporary society, the concept of the third space emerges as a focal point, representing communal realms that extend beyond the conventional binaries of home and work (Beck, et al., 2009). As these spaces play a crucial role in fostering community, creativity, and identity, they become susceptible to the pervasive forces of commodification in a capitalist economy. This research embarks on a nuanced exploration of the commodification of the third space and the consequential transformations that have reshaped the communal landscape. Through the lens of Karl Marx's theory of commodification, we delve into the
historical and cultural roots of this phenomenon, contemplating its impact on the authenticity and inclusivity of communal spaces. Furthermore, engaging with Guy Debord's notion of the 'spectacle,' examining its reflection on the third space and the gradual erosion of its distinctive characteristics (Debord, 1995). As we navigate the contemporary landscape, the analysis extends to the ethical implications of diminishing third spaces and the influence of global capital on public realms. Drawing on Antonio Gramsci's Cultural Hegemony theory, the narrative weaves through diverse perspectives, culminating in a consideration of artists' pivotal role in reclaiming and resisting commodification (Gramsci, 1971). This essay, therefore, serves as a comprehensive journey through the ever-changing landscape of the third space, inviting us to deliberate on the challenges and opportunities in the pursuit for community-oriented and inclusive environments. Although this essay will not give space for an in-depth understanding of how the digital world effects and relates to the commodification of the third space, it is important to note that it does play a role in the contemporary cultural landscape. The commodification of space within a capitalist society refers to the transformation of physical and social spaces into commodities and thus, becoming subject to market forces and driven by the modern capitalists unwavering desire to pursue profit at all costs. In this process, spaces that were once primarily communal, public, or culturally significant undergo changes that prioritise economic interests over community needs (Mehta & Bosson, 2010). The Western context often witnesses the commercialisation of public areas, urban developments, and cultural landmarks as they become products for consumption and profit. Evidence of this change can be identified in highly capitalised continents Europe's has walkable cities unlike places like America, which relies almost completely of private transportation (Kwitny, 2006) with “91.7% having access to at least one vehicle in 2021” (Valentine, 2024) and “Inequalities of income, wealth and power cost the UK £106.2bn a year compared with the average developed country in the Organisation for Economic Co-operation and Development (OECD), according to the Equality Trust’s cost of inequality report” (Hill, 2023) it is still apparent that life in the UK is prioritising corporations and financial gain rather than the individual's lifestyle. These developments are intricately linked to broader societal shifts, including the influence of neoliberal economic policies, urbanisation, and the dominance of market-oriented ideologies. (Metclaf, 2017) Spaces lose their intrinsic value and cultural significance as they are reshaped to cater to commercial interests, resulting in consequences such as gentrification, the privatisation of public areas, and the erosion of community identity (Metclaf, 2017) The analysis of the commodification of space within involves examining how economic structures
shape the physical and social landscape, impacting the accessibility, purpose, and cultural meaning of various spaces. Additionally, it raises questions about the ethical implications of prioritising profit over the well-being and shared experiences of communities within these spaces
2. The commodification of the third space: a Marx’s analysis
Overview of the Third Space
American Urban sociologist Ray Oldenburg, who introduced the term "third place," described it as a sanctuary beyond one's home or workplace a consistent meeting space for socialising with friends, neighbours, coworkers, and even strangers (Oldenburg, 1999). Oldenburg's seminal work primarily delves into the social dimensions of third places, placing emphasise on their welcoming and comfortable ambiance, frequented by regular patrons for reconnecting with old acquaintances and forming new connections. Typically, these ‘third places’ present themselves as local businesses, community lead spaces, places of worship and similar establishments which create a community (Mount & Cabras, 2017). While Oldenburg touches upon certain physical aspects like proximity to home or work and the provision of food and drinks these third spaces serve as to fulfil a social and communal need aspect of everyday life, often these spaces have visible features which show the communities that they hold space for these types of social experiences, with things like seating arrangements and personalised street front and atmosphere (Mehta & Bosson, 2010). Oldenburg points out that most needed are those 'third places' which lend a public balance to the increased privatisation of home life (Oldenburg, 1997) Third places are nothing more than informal public gathering places. The phrase 'third places' derives from considering our homes to be the 'first' places in our lives, and our work places the 'second’, driving home this idea we should have a right to a third space to add respite from the 1st and 2nd places (Space, 2008).
Many problems arise when third spaces are taken (or possibly never granted) from a community. Extra burdens fall on members of society who struggle economically. Oldenburg states, "In the absence of informal public life, living becomes more expensive. Where the means and facilities for relaxation and leisure are not publicly shared, they become the objects of
private ownership and consumption." (Oldenburg, 1999). Highlighting the importance of informal public life for the well-being of a community. This suggests that when people do not have accessible public spaces to gather at leisure, forcing people to seek these opportunities in private domains such as exclusive clubs or facilities, often with a price tag. It also contributes to a less inclusive way of life due to the exclusion of people with less disposable income and alienates community members from meaningful local experiences.
Oldenburg’s statement “Life without community has produced, for many, a lifestyle consisting mainly of a home-to-work-and-back-again shuttle. Social well-being and psychological health depend upon community. It is no coincidence that the 'helping professions' became a major industry in the United States as suburban planning helped destroy local public life and the community support it once lent." (Oldenburg, 1999), helps to highlight how all-encompassing the experience of alienation from one’s surrounds can have such a vast toll on individual’s mental state. This divided lifestyle, whereby wealthy members of the community enjoy a plethora of spaces pandering to their regular activities and convenience can be the start to problems which surface as gentrification and even anti-social behaviour. Teenagers and Public Space Research reported key findings of “Antisocial behaviour (ASB)… largely attributable to boredom and the lack of purposeful opportunities, or places to hangout, which are accessible and affordable for all.” (Wood & Hamilton, 2023). Emphasise the significance of purposeful and inclusive public spaces in addressing these issues. When communities lack places for social interaction and engagement the consequences can ripple through various aspects of individual and societal well-being which can affect the individuals having a firsthand experience but also the community, experiencing the aftereffects of the shortfall of these areas through second hand experiences in the community.
Introduction to Karl Marx’s Theory of Commodification
Political philosopher Karl Marx made a distinctive observation that the generalised commodity exchange through capitalism requires relations between people and things but that the commodity form obfuscates this saying "The relations connecting the labour of one individual with that of the rest appear, not as direct social relations between individuals at work, but as what they really are, material relations between persons and social relations between things." (Marx, 1887). This observation made almost two centuries ago, is increasingly pertinent today
as capitalism continues to extend its influence into every facet of life. Consequently, it has created a societal framework where any alternative structure appears implausible or, in the words of Foucault, has been “disqualified" (1980).
The evolution of capital has brought about notable changes in the transformative dynamics by which cultural products transition from organic expressions of identity or meaningful traditions in history, to commodities that are subject to market forces (Jameson, 1984) An indication highlighted by Marx himself, stating, "A commodity appears at first sight an extremely obvious, trivial thing. But its analysis brings out that it is a very strange thing, abounding in metaphysical subtleties and theological niceties." (Marx, 1887). According to Marx, the production of goods and services involves a complex network of social relations and labour. However, this complexity is often obscured during the production process, making it appear as though these products and services materialise out of thin air. This lack of transparency is particularly prevalent in industries with long and complex production chains, where the final product is significantly removed from its raw materials and origins (Marx, 1887). This can lead to a failure to understanding the full cost of a product and conceal labour exploitation as well as many other social issues associated with the manufacturing of goods and services (Burgis, 2022).
Marx's ideas on commodification can provide a framework for understanding the transformation of communal spaces, such as the third place, within the context of capitalist societies. Historically. these areas for leisurely public gathering served as arenas for noncommercial interactions, allowing for socialisation and recreational use of time, which is considered important for a healthy lifestyle (Troyer, 2016). Marx's theories surrounding capitalism also highlight the impact of market forces on mankind’s existence, stating in The Communist manifesto, written alongside Friedrich Engles, "All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life and his relations with his kind." (Marx & Engles, 2015), which reflects Marx’s observations of capitalisms evolving and often disruptive effects on established social structures and communal spaces. It speaks to the notion that under this economic structure community based traditional aspects of life may disintegrate in the pursuit of economic gain.
Through Marx's key concepts, commodification, alienation, and capitalism, we can understand how issues stemming from these features of society could impact us negatively, physically, and emotionally, and explore with this understanding concerning community space (Chatterton & Pusey, 2019) Drawing on Marx's concept of alienation is particularly relevant to the commodification of third places. As these spaces transition from community-oriented environments to commercially driven structure, they detach and estrange from their original purpose. The social relationships and cultural practices that once defined these spaces may be replaced or overshadowed by market-driven motives, leading to a sense of alienation among community members who no longer recognise the transformed spaces as extensions of their identity and shared experiences but as areas with a more viscerally hostile tendency, due to lack of funds which give them purpose for occupying space there. Applying Marx's theory to third spaces, we observe a transformation where communal areas traditionally valued for their social utility and cultural significance become subjected to the logic of exchange and profit (Bellofiore, 2018). The process of commodification in third spaces involves the conversion of these areas into commodities to be bought, sold, and consumed.
Guy Debord and ‘The Society of the Spectacle’
‘The society of the spectacle’ by Debord, operates as a cultural apparatus designed to maintain the passivity of the proletariat, emphasizing consumerist ideals to deter active critique of the socio-economic order. The manipulation of the public psyche through consumerism emerges as a critical theme warranting scrutiny within the sociocultural frame. Advertisements strategically capitalise on the ennui induced by the conventional 9-5 routine, redirecting individuals from contemplating systemic change and instead fostering an illusory belief that gratification lies within the realm of consumerism. This constructed societal narrative, wherein contentment is intricately tied to the act of consumption, plays an instrumental role in the inadvertent construction of Debord’s theories of society, in which he outlines issues and habits the public fall into created by a system which encourage these behaviours of indulgence of products and rewarded financial debt.
At the heart of Debord's critical analysis is the contention that under capitalism predatory advertising methods are deployed to alter societal attitudes and the perspective of the labour force. “The more he identifies with the dominant images of need, the less he understands his own life and his own desires. The spectacle’s estrangement from the acting subject is expressed
by the fact that the individual’s gestures are no longer his own; they are the gestures of someone else who represents them to him.” (Debord, 1995) This involves coercing individuals into turning a blind eye to prevailing realities in a concerted effort to pursue an idealized future shaped by consumerist desires. The overarching aim is to cultivate a passive disposition among workers, diverting their attention away from socio-political realities and steering them towards the pursuit of consumerist aspirations. This exemplifies the pacification of the worker, a phenomenon intricately woven into the fabric of capitalist dynamics to allow its continuation.
In contemporary debates surrounding commodification, globalisation has had a transformative impact. Modern economists argue that the technological and all-encompassing nature of massproduced goods and services, coupled with resulting levels of mass inequality, have engendered the demise of capitalism and the emergence of a new form of “techno-feudalism” (Hamza & Ruda, 2022) This has resulted in a few organisations and individuals dominating and controlling the market, leading to the centralisation of power and cultural control (Varoufakis, 2023). Guy Debord's notion of the ‘Spectacle’ further enriches the analysis by emphasising the role of mass media and advertising with consumer culture, shaping contemporary urban environments. The Spectacle refers to the dominance of representations within images and media-driven narratives that mediate our relationship with the world. In the context of third spaces, the Spectacle contributes to commodification by transforming it into consumable experiences and lifestyles. Debord's analysis of the society through his work also introduces the concept of "commodity fetishism," echoing Marx's ideas. In the commodified third space, the emphasis on the consumption of popular brands with aesthetics deemed in demand at the time over real connection and enjoyment of goods. The fetishism of commodities masks the real social processes and transformation of communal environments, reinforcing the illusion that these spaces exist solely for consumption rather than as organic products of community life.
Analysis of Artist Jenny Holzer Critic of Space and Commodification
One of Guy's significant points is predatory advertisement methods used under capitalism that change the attitudes of society and the workers by coercing them to ignore what is happening, to chase what could be happening. He say’s "In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation." (Debord, 1995) this
pervasive entity feels like an ever-present force shaping our surroundings. It operates ceaselessly, permeating every facet of our lives. At times, we may find ourselves contemplating its existence, yet the sheer weight and oppressiveness of its influence often make it a challenging subject to confront. This omni present influence, coupled with the sense of its deliberate entrenchment creates a complex web that can be both mentally and emotionally taxing to navigate. It's a force that, despite our instinct to resist, sometimes we simply must Sur come to our wants of capitalistic purchasing.
In the same vein text-based installation artist, Jenny Holzer has made many works exploring these pathways of thought and bringing them into the public sphere in such a way that you are forced to see whether it was your intention of not.
1.Jenny Holzer, Protect me from what I want (1985)
‘Protect me from what I want’ (1982), is a piece of hers which like many of her pieces can take on as so many meanings but ultimately asks viewers to consider the complexities of desire and its consequences. It’s easy to think of this work in a romantic context but when juxtaposed with a bright city, framed in an advertisement space, it begins to hold a different meaning. The phase suggests a conflict of what we desire and our best interests. Playing with ideas around morality and ethical behaviour, how society may view us or how we may view ourselves after the desire has taken us. Also having connotations aligned with buying into a fantasy that is trying to be sold to us to keep us pacified just like Marx’s and Debord write. Even though we’re aware of
its mortality, we’re easily persuaded of its mystery (Marx, 1887). The placement of many of the works from the series is also relevant to, with huge text filling up large scale billboard platforms where an ad would usually be spotted, with the sentiment projecting these bold bright letters through a hurrying city makes it feel like I am the exact person being spoken to by these bold words.
Holzer rose up in popularity in the 1980s, with her works often displayed on electronic billboards or projected onto architectural surfaces in bustling cityscapes. They are as many acts of cultural intervention as they are artistic expressions. Through Holzer's work, she has explored feminist themes, which has provided an opportunity to discuss gender dynamics and their intersection with cultural commodification Holzer uses large signs, LED’s and metal structured words echo thoughts about being in a society which is harmful and riddled with inequality. She would write “inflammatory essays” - inspired by various political leaders and their abuse of power. Often contributed to the conversation around political violence, like the failed response to the AIDs epidemic (Jacobson-Leong, 1993) She was the first woman to represent America in the Venice biennale in 1990 (Brenson, 1988) , winning best pavilion, she truly has paved the way for text and an artist whose medium transcends the traditional boundaries of contemporary art (Tate, 2023).
2.Jenny Holzer, Abuse of Power Comes As No Surprise and Moral Injury (2021)
Holzer's Truisms series where brief phrases are extracted from their original context and incorporated into various "real-life" settings, such as T-shirts, benches, LED screens,
projections on buildings, and other mediums. Initially created in the late 1970s without accompanying explanations, the Truisms have evolved over time to respond to contemporary world events, gaining heightened political significance in recent years (Hessel, 2023). Holzer has said: “If you want to reach a general audience, it’s not art issues that are going to compel them to stop on their way to lunch, it has to be life issues.” (Hessel, 2023) and Holzer art does this with her media images challenge notions of power and identity. Using the public world as a canvas to insight change and thoughtfulness in topics which are current in a form of protest against structural issues plaguing the current cultural landscape in the West in terms of politics and ethics
Jenny Holzer's artistic expression defies conventional norms by transforming public spaces into thought provoking visual spectacles. Drawing inspiration from the mimicry of advertising. Holzer chosen spaces which inhabit her work, turn the ordinary passerby into engaged viewers as though they are summoned to pause and engage with nuances of her words. Unlike typical advertisements that inundate urban landscapes with commercial manipulative language, Holzer forces her audience to confront intellectually stimulating content in unexpected locations. By being the first to showcase large, projected panoramas in public spaces, she challenges the traditional boundaries of art presentation. Holzer's work is a departure from the shallow nature of commercial messaging, as she introduces poetry and other people's writing to the urban environment, effectively turning the city into her own stage. In doing so, she claims her space in a unique manner, encouraging a reconsideration of the purpose and impact of visual communication in the public realm. Holzer's work itself appropriates the medium in which advertisements have been resided to. With her “‘no-nonsense’ fonts,” commented by Jennifer Roberts, a curatorial research associate at the National Gallery of Art, Washington DC (Harris, 2014), taking back a small corner of the public space for the public with thought-provoking insights which shine like a beacon of hope in a crowded sea of notices telling us what to buy next and subconsciously, how to behave. Her work has added to the cultural landscape of urban spaces and continues to build layers within itself in the online sphere (Ewens, 2017). Holzer’s work can be seen as a contemporary expression of the third space, blurring the boundaries between art and everyday life and fostering a sense of shared experience among the viewers, bringing art into everyday spaces, while critiquing the commodification of shared space
Antonio Gramsci and Cultural Hegemony
The current cultural homogeny taking place through our reality and ever-expanding life online, relates a lot to the Italian philosopher and politician (Oxford, 2024), Antonio Gramsci's concept of cultural hegemony. Derived from the Greek term "hēgemonia," meaning "dominance over,", the term was initially employed to characterise relationships among city-states (Rosamond, 2023). While historically associated with physical geopolitical control, contemporary scholarship has evolved the concept beyond the straightforward notion of territorial dominance. Gramsci's contributions have significantly shaped this shift, expanding the understanding of hegemony to encompass forms of control extending beyond physical authority. (Nicholas, 2017) “This kind of power is distinct from rule by force, as in a military dictatorship, because it allows the ruling class to exercise authority using the "peaceful" means of ideology and culture.” (Cole, 2020). These structures in place would allow for the ruling class to benefit while keeping everyone below to believe that there was good reason for their socio-economic placement and that they too are benefiting from the current structure which is stopping the evolution of a new way (Cole, 2020). Marx’s believed this overturning of power would eventually happen, "The history of all hitherto existing society is the history of class struggles. Freeman and slave, patrician and plebeian, lord and serf, guild-master and journeyman, in a word, oppressor and oppressed, stood in constant opposition to one another, carried on an uninterrupted, now hidden, now open fight, a fight that each time ended, either in a revolutionary reconstitution of society at large, or in the common ruin of the contending classes." (Marx & Engles, 2015) but which Gramsci believed hasn't been able to take place due to his theories on cultural shaping of beliefs and values, through means of things like media, to maintain the existing power structure, which falls under "cultural hegemony" (Gramsci, 1971) The concept of cultural hegemony is a tool which will allow an understanding of how dominant groups use cultural institutions to maintain power. Cultural hegemony is the domination or rule achieved through ideological or cultural means (Lears, 1985) This level of social control is exerted in a discreetly maintain the status-quo without using physical force. This would allow for much of the cultural landscape to be tampered with to maintain this dominance but also keep the underclasses from having anything noticeable and significant to fight against, as though the dominance is being maintain almost through imagination.
Gramsci and Oldenburg’s theories intercept where culture is influenced, “The exercise of hegemony on the now global plane of civilization is not only ethico-political; it is also cultural. The consent to hegemony operates on the cultural plane and hence also on the historical plane.” (Gramsci, 1971) Suggesting due to the role of civil society, cultural hegemony, and the ideological dominance of the ruling class has coercively shaped the consciousness of the masses As outlined by Gramsci, hegemony involves exerting "cultural, moral, and ideological" influence as a form of leadership over allied and subordinate groups. “The intellectuals, once ensconced, should attain leadership roles over these groups’ members by consent. They would achieve direction over the movement by persuasion rather than domination or coercion” (Cole, 2020). These aspects of life get in the way of really live – “The point of modernity is to live a life without illusions while not becoming disillusioned” (Gramsci, 1971) and community spaces are where we really have access to engage with inhabitants and local projects, it is also important to not have aspects of life that are not hidden behind a paywall, when communities don’t have access to spaces like this they can locked out of the valid need for this type of connection to life. “The historical unity of the ruling class is realized in the state.” (Marx & Engles, 2015) and although the aspired outcome, for this ruling class, is profit and power, ultimately it is having a large effect on the contemporary social landscape, with third spaces affectively being lost as a result Oldenburg emphasises the democratic nature of third spaces saying, “…this unique occasion provides the most democratic experience people can have and allows them to be more fully themselves, for it is salutary in such situations that shed their social uniforms and insignia and reveal more of what lies beneath or beyond them.” (Oldenburg, 1999). Media legitimising vast amounts of wealth inequality due to being owned by the very wealthy as to self-serve and maintain cultural dominance, and this is used to maintain inequality but also helps to homogenies culture through these forces, as a biproduct of the cultural hegemony. (Nicholas, 2017)
Homogenisation of space and effects
As these community spaces become subject to commodification important third places in our society become hubs prioritising profit over community need, which then has the potential to feed into gentrification and shift away from their original social and cultural functions. Often more than just local spaces are lost, there is also a loss of small businesses which also hold
space for locals to visit which breeds a sense of community, with the decline in small businesses over the past few decades due to the power of monopoly over certain sectors (Mitchell, 2016), many rely on using chain coffee shops and fast food venues to supplement the loss of community space.
Ubiquitous fast-food establishments like McDonald’s, ostensibly designed to offer a temporary reprieve. However even within seemingly ‘hospitable’ spaces the architectural elements implemented wield a subtle coercive force. Notably aspects such as garish lighting and colour combinations are strategically employed to influence the duration of patrons’ stay, emphasising the transient nature of their welcome. Even with all of this some venues have taken to placing “no loitering” signs to drive home the message (Phuket News, 2012)This phenomenon extends beyond fast-food sites, permeating even seemingly innocuous public spaces such as bus stops and waiting areas. The architectural design of these environments (Hu, 2019), ostensibly crafted for practical utility paradoxically includes elements intended to dissuade individuals from lingering longer than deemed necessary. The intentional incorporation of discomfort-inducing features seeks to mould behaviour and align temporal occupancy with the utilitarian purpose of these spaces. The transformation of the ‘third space’ into these arenas of commercial influence prompts critical examination. It raises inquiries into the delicate balance between the intrinsic purpose of these spaces conceived for unhurried human interaction and the commercial imperatives that seek to regulate and curtail such interactions. This discourse underscores the evolving nature of communal spaces within our contemporary locations. Where the intersection of architecture and commercial interests renders the notion of 'free spaces' a complex terrain to navigate.
3.No Loitering (YEAR)
A pivotal consideration in the discourse surrounding the 'third space' is the fundamental concept between the realms of home and work. It constitutes an additional arena where individuals can convene and socialize with ease. In warmer climates these spaces maybe be outside but with the inconsistency of the weather in the UK, even in the summer months, means a third space really calls for somewhere indoors. Particularly noteworthy is the significance of these spaces for individuals within the lower income strata of society, providing an essential refuge for regular relaxation. However, an observable trend reveals a gradual diminishment of these spaces transforming them into environments necessitating financial expenditure for access. Compounding this shift is the contemporaneous decline in church attendance (Consultancy, 2016), indicative of a broader societal trend wherein fewer individuals actively engage in communal activities outside the home. Consequently, this altered landscape portends an increased amount of time spent within the confines of one's residence, a circumstance potentially precipitated by financial constraints. The confluence of reduced accessibility to 'third spaces' and diminished communal engagements outside the home amplifies the scale of social alienation for individuals, especially those grappling with socioeconomic hardships. The significance of these 'third' spaces extends beyond physical locales, which play a pivotal role in shaping individuals' sense of community. In turn, becoming taxing for the cultivation of culture. The absence of such communal spaces poses the risk of heightened social isolation, limiting individuals to the realms of work and home life, thereby restricting their access to
diverse socialising opportunities and extracurricular activities all in the pursuit of more money going towards large corporations and less feeding back into community life.
Ethical implications of diminishing third spaces
As the internet has grown, many in-person interactions have dwindled, becoming replace by streamlined apps and online shopping. Today’s lived experience is dystopian compared with that of even 40 years ago (Placeholder10). We have been left with minimal room for chance experiences and studies show younger people today struggle more than ever with social interactions, partly due to the rise in a heavily screen based society. The art of conversation with a stranger is dying and social anxiety is on the rise,
“..studies have emphasized that aspects of the socioeconomic environment (measured within different units of geography), such as income inequality and local economic conditions, are likely to affect the mental health and well-being of the citizens. The social inequalities in mental health can be due to the scarcity of material resources among the subpopulation, as well as weak social capital (including lack of trust) and the psychological mechanisms that primarily arise in a skewed and class-divided society” (Haugan, 2023) Families are the smallest they have ever been in recorded history in the developed world and with woman becoming more educated and career driven paired with the rising home prices, inflation and childcare costs, couples are waiting until they are much older to start a family (Shadwell, 2022). We are living through a loneliness epidemic and capitalism has everything to do with it. Through using resources of these social media platforms many have taken to them to voice their opinions, Nathan Allebach critiques capitalism’s role in societies diminishing third spaces arguing that it is undeniable that technology has changed the ways people view communities, but nothing can replace the need for organic in-person connections that we get from third places. He also notes "People try to replicate community online through multiplayer video games, forums, and social media groups." (B, 2022), which is something which has been playing out since the start of chat rooms. So much of the internet is used purely for human connection. As community spaces have been replaced in everyday life with capitalist ventures like fast food chains and drinks onthe-go our online life has grown exponentially, with the average adult in the UK spending around 2hrs 55mins per day on their desktops, and 2hrs 52mins per day on their mobile, which shows a steady increase in time spent looking at a screen over the past decade (Binns, 2023)
There are so many fundamentally concerning attributes this current state of late stage of capitalism we are experiencing, with one of the primary ethical concerns associated with the diminishing of third spaces being social inequality and exclusion. The loss of these communal environments disproportionately affects societies most marginalised groups. Financial costs of chain venues force locals on smaller budgets to either restrict or miss out on frequenting places in their neighbourhoods’ which could supplement as a third space. Feelings of disenfranchisement from the local area can harbour and cause concerning issues to the individual, e.g a loss social interaction with friends and the community around them which could lead to feelings of loneliness and later depression. Isolating oneself from social interaction has been linked to a toll on mental health which can have and affect on physical health also (Tulane University, 2020). Oldenburg highlights throughout his book that the financial motives of the governing bodies have contributed to this loss of community space and has commented on how money holds back much of society in their social activities stating, “The development of an informal public life depends people finding and enjoying one another outside the cash nexus.” (Oldenburg, 1999) There is also issues faced from specific communities facing the loss of these spaces due to urban developments or neglect, raising ethical questions about the equitable distribution of public resources and communal benefits. There are many problems that can occur due to the commodification of culturally important spaces, many experiencing issues due to this; homogenisation of culture caused by consumer driven demand and standardization of products in pursuit of capital can, in some respects be viewed as an achievement for mankind, allowing for standards and safety regulations, but facets of these developments have contributed to the commodification of space. These spaces have been replaced by conglomerate businesses which require individuals to spend to have access to, and in other ways, these spaces have become littered with adverts and encouragement of spending money. These developments in the disappearance of community space have seen a rise in social health issues, like loneliness and isolation contributed by the constant encouragement to spend money in spaces made for leisure and connection.
4. Artists Reclaiming Third Space
Park Fiction
Park Fiction, nestled in Hamberg’s red-light district, St Pauls, is a public park which serves as an example of third space activism, whereby locals gathered to orchestrate Collective Production of Desire for the park beginning 1995. This action came about due to arrival of plans for the city government to sell off the significant harbour view location in the park to private investors. The community protested (in an anti-protest style) the sale until 1997, at which point the government abandoned its costly building proposal. After a decade of collective struggle, the park was finally inaugurated in 2005 (Urban Matters, 2023). Rather than traditional activism, Park Fiction ingeniously transformed the struggle into a project that centred art as action and positioned community participation, collective activity and social cohesion at the heart of its function (Urban Matters, 2023). Initially started by residents’ association and artist Christopher Schafer, which “emerged as a viable alternative to the city’s plan, which favoured commercial interests over community’ desire for recreational space.” (Thompson, 2012). Throughout their occupation of the park they organised festivals, activities including local culture and talks to keep the park busy and in use whilst also inciting citizens to take charge of the urban planning aspects of the project instead of waiting for permission from the city (Park Fiction, 2023).
4. Park Life (1998)Park Fiction represents an innovative approach to activism, transforming the opposition into a Platform of Exchange and Production. The community implemented Parallel Planning, which fostered collaboration among diverse cultural fields, including musicians, priests, headmistresses, cooks, cafe owners, artists, etc. The planning process was gamified, utilising tools such as the Plasticine Office, the Archive of Desires, questionnaires, maps, and the Garden Library. This community's efforts with Park Fiction have been a catalyst for the Right to the City movement. Proving emblematic of the broader spatial struggles connecting disparate groups in a collective pursuit of urban justice and autonomy. The ongoing production of desires extends even to the Elbe riverfront, exemplifying the enduring relevance of Park Fiction's principles in navigating contemporary challenges (Park Fiction, 2023).
Through their work the community has managed to take back ownership of their only public space and create a new home for the local residents to enjoy as free outdoor situate functioning as a third space. “This strategy of accumulating cultural capital, then leveraging it to obtain government support in the form of funding from the city's Art in Public Space program” (Thompson, 2012) has given back to the community but has also highlighted ways in which the people can band together to take back ownership of their surroundings. Through their collective efforts they have creatively used their protest in the government's plans of earning a profit from the selling of a much-needed space and turned it into a place everyone can enjoy.
Fiction Parks’ success has captured elements directly opposite to Marx’s meaning of production of goods, illustrating a project which openly showed labour and time and centres around social relations to create a product invaluable to a community with little financial backing or motive. The participation which took place will allow the growth of the accessible space to thrive for future inhabitants and should provide confidence in other organisation groups with similar struggles, putting the power back into the hands of the community, accumulating cultural capital, making the space more important and desirable.
5.Park Fiction recent (2005-2023)
Dorchester Project
In 2009 artist and social activist Theaster Gates has carved a distinctive niche within the art world by redefining abandoned spaces and dilapidated buildings as vibrant hubs of communal engagement. Gates identified a problem with available local community space so sought out an artistic endeavour that transforms neglected properties on Chicago's South Side into vibrant cultural spaces. Gates studied urban planning and ceramics, attending Iowa State University and later went on to achieve a master’s degree in religious studies and fine art in Cape Town. He also spent a year in Japan, working on his craft, ceramics, which has since been evident in his work (URIST, 2023). Through his education and personal art practice his feelings towards social change have always been present.
Over the past decade, Gates has transformed nearly 40 abandoned buildings in a distressed neighbourhood into a thriving urban centre and arts destination through the Rebuild Foundation. Beginning in 2009 with what is now called the Archive House. Gates bought the run-down property and repurposed the single-family home into a multifunctional space including library, photo archive and soul food kitchen, which served guests inventive meals to encourage conversation, particularly about social issues (URIST, 2023). This triumph has allowed him to continue with his work in the community, buy more derelict buildings in the pursuit of creating community spaces and adding African American and art history sources of knowledge through collection and archival, with Victoria Sung from Walker Art Centre, who worked with Gate, curating a previous show of his, saying “At the core of his artmaking is this impulse to collect, and not just to collect, but the labour and caretaking of archiving and cataloguing that goes along with it,” “Gates is interested in objects as tangible things and
understands that there is a material memory embedded in them,”. This urge to collect thing crops up though out his projects to change the local area but also in his solo exhibitions, which often feature archives and subject matter which provokes conversations around social inequality. Gates himself stating “The art isn’t about art. The art is about deep belief in the power of human beings to make each other better, that we might all become our better selves.” (URIST, 2023).
The project exemplifies Gates's commitment to revitalising communities through art and cultural engagement. This ongoing venture seeks to repurpose abandoned properties into something which can bring real meaning and positive change to the local inhabitants’ lives whilst also archiving important history in the community, which centres social change, contributing to a sense of community and fellowship, and access to educational resources which extend out with the residents, due to the nature of archival work. Gates vision for these neglected vacant buildings has been a catalyst to creating something valuable to the community, giving them a space otherwise left to ruin, and a sense of togetherness. By breathing new life into forgotten spaces, Gates not only challenges the commodification of urban landscapes but also emphasises the potential of communal environments to serve as catalysts for collective creativity and education. Gates blurs the boundaries between public and private, challenging conventional spatial norms and contributing to the discourse on the transformative power of the third space within contemporary urban contexts.
"The 'consciousness' of a period is something objective, which has its own laws. In political struggles, the task is not just to propound a correct theory but to find the formula for a particular reality and to construct a new reality, that is, a new political culture." (Gramsci, 1971) - Antonio Gramsci emphasises the objectivity and distinct laws governing the "consciousness" of a particular historical period. He suggests that during political struggles, it is not merely about presenting a correct theoretical framework but about understanding and formulating a specific formula that captures the essence of the existing reality. Additionally, he mentions the importance of constructing a new reality, which involves shaping a new political culture. Gramsci's point is that to effectively engage in political struggles, one must go beyond abstract theories and instead focus on understanding the concrete conditions and consciousness of the given period. The task involves developing ideas that resonate with the material realities
and social context, ultimately contributing to the creation of a new political and cultural structure. Through the mentioned artists’ works and engagement with their community, they have successfully identified, critiqued, and taken action against this problem.
5. Conclusion
In conclusion, a contemporary analysis of the commodification of third spaces through the lenses of Karl Marx's theories, Guy Debord's and Antonio Gramsci’s concepts processes are revealed by which communal environments are transformed into commodities within a capitalist frame. “A number of recent American writings indicate that the nostalgia for the small town need not be construed as directed toward the town itself: it is rather a “quest for community” (as Robert Nisbet puts it) a nostalgia for a compassable and integral living unit. The critical question is not whether the small town can be rehabilitated in the image of its earlier strength and growth for clearly it cannot but whether American life will be able to evolve any other integral community to replace it. This is what I call the problem of place in America, and unless it is somehow resolved, American life will become more jangled and fragmented than it is, and American personality will continue to be unquiet and unfulfilled.” (Lerner, 1960), it’s apparent that there is a deep longing for the return of the sense of community many can only dream of now and with the action art lead by artists and activists on projects like Park Fiction and Dorchester Project there is hope for a future which includes post-capital ideas. Powerful people using culture in order to legitimise their dominance, this makes it easily hidden from society and allows control and to maintain status quo without much hinderance due to its invisibility dominance contained by consent.
These ‘third’ spaces are important to people's sense of community, which in turn harbours culture and without this people can become more isolated from socialising and activities aside from work and home life. Alienated from community due to the commodification of public spaces hasn’t come without critique from artists and the help of the public to try to create these spaces. Gramsci’s philosophy of praxis is what he uses to describe and analysis how social classes come to dominate society. Explaining that power is gained not only through physical but also cultural domination and this domination has changed our cultural landscape in profit filled endeavours and left many communities without spaces they need to enjoy life to the fullest. Neglecting this aspect of socialising has caused communities to become at risk from
social health issues including loneliness and alienation but through art for action work lead by artist things can be reappropriated and give back some of these vital spaces.
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