Place production, urban tourism geographies and experiences of Muße

Urban tourism, as a social, cultural, and economic field, has been strongly affected by the COVID-19 pandemic. As a reverse effect of this crisis, however, there is a recent shift away from the dominant logics of performance and efficiency towards mindfulness, serenity, and similar concepts that shape the everyday life of an increasing number of people. All these terms are related to the semantic field of Muße, a word derived from the German language, which is defined as the experience of moments of freedom, indulgence, placidity, and recreation. Following the idea that social phenomena are reflected and reproduced in tourism, the objective is to explore how and where tourists experience Muße in urban tourism. A focus on Muße first enables a better understanding of tourists' travel behaviour, expectations, and needs. In the same vein, it is possible to examine tourism place-making since the need for Muße produces and transforms individual tourists' worlds of experiences. Although place-making practices and experiences have been widely studied, their relationship to Muße remains to be explored in urban and tourism research. With the aim to study practices and places of Muße in urban tourism, the presented qualitative content analysis draws upon 84 interviews conducted with tourists in Barcelona, Florence, and Paris in 2019. Findings show that the practice of sitting is relevant for experiences of Muße with a particular impact on place-making. Six categories are suggested to illustrate how Muße can be effective while tourists are sitting. This includes a detailed discussion of the spatial dimensions of Muße. In conclusion, places of Muße are highly individual, intangible, and complex. Insights into the characteristics of Muße and engagement with this new concept in international tourism research can be used as resources to study tourist place-making and support the planning for sustainable tourism development. [ FROM AUTHOR] Copyright of Tourism Geographies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)

Two years of Volatile Organic Compounds online in-situ measurements at SIRTA (Paris region, France) using Proton-Transfer-Reaction Mass Spectrometry

Volatile Organic Compounds (VOCs) have direct influences on air quality and climate. They indeed play a key role in atmospheric chemistry, as precursors of secondary pollutants, such as ozone (O3) and secondary organic aerosols (SOA). To this respect, long-term datasets of in-situ atmospheric measurements are crucial to characterize the variability of atmospheric chemical composition, its sources and trends. The on-going establishment of the Aerosols, Cloud, and Trace gases Research InfraStructure (ACTRIS) allows implementing the collection and provision of such high-quality datasets. In this context, online and continuous measurements of O3, nitrogen oxides (NOX) and aerosols have been carried out since 2012 at the SIRTA observatory, located in the Paris region, France. Within the last decade, VOC measurements have been conducted offline at SIRTA, until the implementation of a real-time monitoring which started in January 2020, using a Proton-Transfer-Reaction Quadrupole Mass-Spectrometer (PTR-Q-MS). The dataset acquired during the first two years of online VOC measurements provides insights on their seasonal and diurnal variabilities. The additional long-term datasets obtained from co-located measurements (NOX, aerosol physical and chemical properties, meteorological parameters) are used to better characterize the atmospheric conditions and to further interpret the obtain results. Results also include insights on VOC's main sources and the influence of meteorological conditions and air mass origin on their levels, in the Paris region. Due to the COVID-19 pandemic, the year 2020 notably comprised a quasi-total lockdown in France in Spring, and a lighter one in Autumn. Therefore, a focus is made on the impact of these lockdowns on the VOC variability and sources. A change in the behaviour of VOC markers for anthropogenic sources was observed during the first lockdown, reflecting a change in human activities. This dataset could be further used as input for atmospheric models and can be found under https://doi.org/10.14768/f8c46735-e6c3-45e2-8f6f-26c6d67c4723 (Simon et al, 2022). [ FROM AUTHOR]

Conferences

First he examined the interactions between the lingering effects of the COVID-19 pandemic and current economic and social transformations. In light of the session in his honour, Dr George Harlow (American Museum of Natural History, New York, USA) chronicled the history of his career, in which he built collections, organised exhibitions and performed geological fieldwork around the world while researching jade, ruby, etc. Pamir rubies formed at unusually low pressures (minimum of 1–1.2 kbar) and a temperature of approximately 760°C. Wim Vertriest (Gemological Institute of America [GIA], Bangkok, Thailand) and co-authors reviewed the identification of low-temperature heat treatment of gem corundum (i.e. up to about 1200°C, which starts causing damage to rutile ‘silk’ inclusions). In another presentation, Dr Dutrow and co-authors investigated the origin determination of Cu-bearing tourmaline using statistical analyses of LIBS and electron microprobe data.

Covid Conversations 5: Robert Wilson: NTQ

World-renowned for having made a totally new kind of theatre, director-designer Robert Wilson first astonished international audiences in Paris in 1971 with Le Regard du sourd (Deafman Glance) and then with his twenty-four-hour Ouverture at the first edition of the Festival d’Automne in 1972. He also refers in this Conversation to Einstein on the Beach, premiered at the Avignon Festival in 1976, as another example among more of France offering him a home before he eventually founded the Watermill Center in 1992 on Long Island in the State of New York. Watermill, a laboratory for multidisciplinary creativity, opened its doors to the public in 2006 and is a focal point of the Conversation as a whole. Wilson’s immediately pre-Covid-pandemic production of The Messiah by Mozart was premiered at the Mozartwoche Salzburg in February 2020 and performed subsequently in Paris during a brief Covid ‘lull’ in September of that year. Discussion of this pivotal work leads to reflections on the opera productions that he had staged not so long before it, emphasizing the elements fundamental to his compositions – light, time, space, architecture, and silence. The Conversation, followed by audience questions addressed to Wilson, took place live online and on Facebook on 4 December 2020 as a prelude to the Festival Internacional Santiago a Mil in Chile, which opened on 3 January 2021. This was the Festival’s twenty-eighth year, but in a significantly restricted form due to Covid-19. A sequel to the Santiago interchange, also online but this time located in Paris, occurred on 17 September 2021. It resumes dialogue mainly on the Watermill Center’s broader cultural and social goals in the present and for the future, noting as well Wilson’s then current activities in Paris: a heavy schedule of four productions from the beginning of September to the end of December 2021, and a sound installation planned for 2022.Maria Shevtsova gratefully thanks the Fundación Teatro a Mil and its General Director Carmen Romero for their initiative in inviting Robert Wilson with her to converse publicly as part of the Festival a Mil, and for permission to edit the transcript for publication in New Theatre Quarterly. Thanks are due to interpreters Margit Schmohl and Jorge Ramirez, and to Maria Luisa Vergara for organizing the audience participation included below, as well as to Alfonso Arenas, former Coordinator of the Education and Communities Area at the Theatre Foundation a Mil. Warmest gratitude is extended to Robert Wilson for his generosity in all sorts of ways, and not least for finding the time to continue the Conversation in Paris. Thanks for their kind support to Nuria Moreno, Production at Teatro Real Madrid, Christof Belka, Executive Director of RW Work Ltd, Clifford Allen, Director of Archives of the Watermill Center, and Leesa Kelly and Noah Khoshbin, curators of the 2021 outdoor exhibition Minneapolis Protest Murals at the Crossroads Summer Festival held at the Watermill Center. The exhibition presented 190 public artworks from the 900 boards of the Minneapolis Protest Murals which were created organically in Minneapolis following the murder of George Floyd on 25 May 2020. Special thanks for their gift of images are given to photographers Lucie Jansch, Javier del Real, Kristian Kruuser and Kaupo Kikkas, Lovik Delger Ostenrik, and Martyna Szczesna. Kunsang Kelden and Maria Shevtsova transcribed this Conversation in two parts. Shevtsova, Editor of New Theatre Quarterly and author of Robert Wilson (Routledge, 2007;updated edition, 2019) edited and annotated the combined transcript for publication.