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Engaging with a scene of the iconic movie Smoke (by Wayne Wang, 1995) in which a rephotographic project is sensitively elicited, this paper addresses the technique of repeat photography to contribute to methodological debates that have arisen within the nascent 'Mobility and Humanities' subfield. Through a humanistic perspective, the paper reviews and expands the nexus between mobility, photography and the urban by comparing the technique with three methodological issues: the blurring of supposed binaries, such as traditional/innovative, static/moving and fast/slow; the possibility of grasping the mobilities of the world in a post-human vein; and the opportunity to also consider techniques as sites for reflection. To address these issues, the paper draws from philosophies of movement, post-phenomenological and object-oriented stances and visual and urban cultural geographies. With reference to the urban realm, this paper proposes three perspectives on rephotography, namely (1) rephotography as a practice of slow and rhythmic attunement with circumstantial spacetimes moving backwards and forwards; (2) rephotography as a visual ontography that displaces the human and opens up space for the apprehension of the agency and mobility of things; and (3) rephotography as a continual process of activation of moving gazes on cities and their imaginaries. [ABSTRACT FROM AUTHOR]

The paper focuses on the case of PalaFuksas, a signature building inaugurated in 2005 and located in the central (but marginalized) area of Porta Palazzo in Turin, Italy. Originally designed to host clothing shops, the building had a history of failures and reconversions, and it is currently mainly used as a branded food hall. By mixing archive and qualitative research, the article focuses on the evolution amongst local stakeholders, of different 'expectations', intended as heterogeneous and not fully conscious and rational sets of ideas, imaginaries, forecasts. PalaFuksas was expected to be a successful and functional building to contain businesses, a flagship for the entire city, and to perform distinction and iconicity, acting as a regenerator for its neighbourhood. Failures in meeting these expectations implied a continuous renegotiation of the meanings, functions and identities of PalaFuksas, revealing the complexity of the processes at play in the attempt to sign, re-sign and ultimately 'become' a signature building. [ABSTRACT FROM AUTHOR]

Guilt and shame operate in connection with individual and collective forces. This paper explores how space is contingent in psychic processes, and how the generation and negotiation of feelings of guilt and shame develop in the interplay between internal processes of the mind and the worldly 'outside'. By presenting two examples, precisely commodity consumption and sex, and a set of fictional anecdotes, the article proposes a series of hypotheses concerning distance, proximity and visibility in relation to shame and guilt, and it analyses mechanisms of resistance to guilt and shame, which include spatial architectures of concealment, displacement and mimesis. It is argued that an explicit recognition of the role of guilt and shame in shaping urban spaces may lead to a better understanding of the mechanics of production of space, may contribute to further bridging geographical and psychoanalytical debates, and may have a political and transformative potential, with meaningful geographical implications. [ABSTRACT FROM AUTHOR]