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By Wilhelm Rettich

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These strategies and tactics may now proliferate and mutate amid the material spaces of the postmodern city, which serve as both material frames for everyday life and as sites for the production of social differences of various kinds. This book is, accordingly, a study of real-world urban spaces (again, in the broad sense in which this concept is understood) in the complex 14 Cities, Citizens, and Technologies interweaving of their many components, from the architecture of buildings and their interiors to urban art to cyberspace and virtual reality.

It is in the city, the city as theater, that man’s more purposive activities are focused, and work out, through confl icting and cooperating personalities, events, groups, into more significant culminations” (185). Mumford’s idealism (in either sense) is not entirely wrong or out of place. Dreiser’s portrayal of the reality of the city as performative may ultimately be more convincing, however. As will be seen in the remainder of this chapter and throughout this study, much of this reality persists into the postmodern city and its theater of signs.

As marketing has infiltrated nearly every public and private space, major corporations have come to see themselves less as purveyors of products than as purveyors of brands, expansive corporate images that seek to encompass ways of being and thinking—entire “lifestyles,” sets of experiences, and systems of values. As brands have spread across the globe, our cityscapes have increasingly come to resemble one another: a relentless reiteration of Coca-Cola, McDonald’s, Starbucks, Nokia, Sony, Samsung, and Nike illuminating the urban night.

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