IN THE BUBBLE JOHN THACKARA - witz cultural

246 Notes to Pages 75–79
and more on the symbolic value inserted—whether by the quality of its design or its
cultural associations (such as a fashion icon, a personality, a genre, or an artistic or
subcultural movement). Marc Pachter and Charles Landry, Culture at the Crossroads
(London: Comedia, 2001).
7. Ibid.
8. The original text comes from Ivan Illich, Tools for Conviviality (London: Calder
and Boyars, 1973). For a lively and well-linked review of Illich’s ideas, see also ‘‘Ivan
Illich,’’ Wikipedia: The Online Encyclopedia, available at http://en.wikipedia.org/wiki/
Ivan_Illich.
9. Christopher Everard, quoted in ‘‘Luxury Goods: When Profits Go Out of Fashion,’’
The Economist, July 3, 2003.
10. Guy Debord’s text The Society of the Spectacle remains today one of the great theoretical
works on modern-day capitalism, cultural imperialism, and the role of mediation
in social relationships. The text is available on the Situationist International
website (http://www.nothingness.org/SI/debord.html), along with a wide range of
other situationist texts.
11. Paul Kaihla, ‘‘Boom Towns,’’ Business 2.0, February 19, 2004, available at http://
www.business2.com/b2/web/articles/1,17863,591952,00.html.
12. Exp appears no longer to be running. A more reflective community of practice of
experience design is AIGA, the professional association for communication design
(http://www.aiga.org/content.cfm/experiencedesign). The original impetus for the
notion of an ‘‘experience economy’’ was given in B. Joseph Pine II and James H. Gilmore,
The Experience Economy (Cambridge, Mass.: Harvard Business School Press, 1999).
13. Le Moniteur, ed., Paris Olympiques: Twelve Architecture and Urban Planning Projects
for the 2008 Games (Paris: Editions du Moniteur, 2001), 23.
14. Says Graham: ‘‘300–400 people is the maximum size at which you can be both
epic and intimate, and we simply could not find a space that would allow us to
accommodate those in the way we need to do.’’ A 1,500-person audience creates a
different sense of what theater is about. Prosaic issues to do with access play an important
role: where do coaches park, how far is it to the tube, and so on. Graham’s
brief to Theatre Projects, which led the design of his new theater, was to ‘‘put an
end to the picture book model of theater, the illusion of looking into a room.’’
15. Peter Brook, in an address at the National Theatre London, November 5, 1993,
available on the National Theatre website at http://www.nationaltheatre.org.uk/
?lid=2632. For a more extensive review of Brook’s ideas on theatre design, see
Andrew Todd, The Open Circle: Peter Brook’s Theatre Environments (London: Palgrave
MacMillan, 2003).