Showing posts sorted by date for query PSYCHOGEOGRAPHY. Sort by relevance Show all posts
Showing posts sorted by date for query PSYCHOGEOGRAPHY. Sort by relevance Show all posts

Monday, March 02, 2026

PSYCHOGEOGRAPHY

Living in a favela influences how people move around the city



Research using mobile phone data indicates that the living condition reduces the variability of daily movements



Fundação de Amparo à Pesquisa do Estado de São Paulo

Living in a favela influences how people move around the city 

image: 

Sequence of inferred locations (trajectories) of mobile phone users, where each color represents a different individual. This data was used in a study examining mobility variability among São Paulo favela residents 

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Credit: Matheus Henrique Cunha Barboza






A study based on the analysis of mobile phone data reveals that residents of favelas in the city of São Paulo, Brazil, exhibit less variability in their daily travel patterns than residents of formal areas with similar incomes.

The study was published in the journal Transportation and was authored by Matheus Henrique Barboza from the Engineering School of the University of São Paulo (Poli-USP). Barboza’s work was supervised by Mariana Giannotti and co-authored by Anna Grigolon and Karst Geurs. The research is part of Barboza’s doctoral thesis developed through a dual-degree program between USP and the University of Twente in the Netherlands.

The analysis was based on 77 consecutive days of mobile phone records, totaling approximately 30 million events associated with around 6,000 users living in areas within or around São Paulo’s favelas. The study focused on intrapersonal mobility variability, or how much a person’s routes change from one workday to the next.

“Most transportation studies look at a single day in people’s lives. What we explored is the fact that phone data allows us to observe behavior over several weeks, something traditional research can’t capture,” Barboza explains.

The results show that income and living in a favela are not equivalent variables. Even after controlling for factors such as average income in the census tract, land use, employment density, and access to public transportation, the “favela” variable remained significant. In practical terms, this means that two people with similar incomes living in nearby areas may have different movement patterns simply because one of them lives in a favela.

According to Giannotti, the lower variability observed among favela residents should not be automatically interpreted as a sign of greater stability or choice. “An initial, generic hypothesis would be that favela residents face additional challenges compared to people with the same income who live in urban areas outside of favelas. Among these challenges, infrastructure bottlenecks related to mobility – such as narrow, steep alleys; distance to bus stops; and lack of adequate sidewalks – can impact access and consequently the variability of movement patterns,” she says.

The researchers used call detail records (CDRs), which are records of calls, messages, and internet connections automatically generated by cell phone operators. By identifying the antennas used over time, the researchers were able to reconstruct users’ daily movements and infer their places of residence based on their nighttime patterns.

They cross-referenced this information with data from the Demographic Census of the Brazilian Institute of Geography and Statistics (IBGE), land use databases from the City of São Paulo, and estimates of accessibility to jobs via public transportation. To measure mobility variability, the authors created a specific indicator: the total number of distinct locations among the three most frequent destinations each workday over four weeks.

Two results stand out. First, people with higher incomes tend to have less variability in their daily movements, indicating more stable routines. Second, favela residents also exhibited less variability despite being associated with more precarious economic conditions.

“Although informal workers tend to show greater variability because they work in multiple locations, living in a favela can impose additional limitations that reduce this fluctuation,” Barboza notes.

Giannotti points out that the data used in the study are from 2016 and cannot be directly extrapolated to the present. “It isn’t possible to extrapolate over time, especially considering the effects of the pandemic on people’s behavior. On the other hand, we understand that the results remain relevant from an analytical and conceptual point of view because the study investigates the mechanisms and structural relationships between mobility, income, informality, and residential status associated with more persistent characteristics of urban structures,” she says.

In addition to its academic contribution, the work has direct implications for urban planning and public policy formulation. “The research provides methods for exploring telephone data to support the development of Mobility Plans, which are mandatory for municipalities with more than 20,000 inhabitants according to the National Urban Mobility Policy,” Giannotti points out.

According to her, traditional origin and destination surveys are expensive and impractical for many municipalities. “If municipalities can advance in using this type of telephone and ticketing data for their plans, it’ll be a huge step forward in having public policies that are more data- and evidence-informed,” she says.

According to the researcher, analyses such as those carried out in the study can support policies such as ensuring adequate transportation in peripheral areas, designing fares and subsidies that align with work routines, and prioritizing infrastructure and service investments in areas with restricted daily mobility.

The data is anonymous and does not allow for direct identification of individuals. According to Barboza, access was obtained through a formal agreement with the operator. “We don’t have names, CPFs [Brazilian taxpayer identification numbers], or anything like that. What we were provided with were geographic coordinates, date, time, and an anonymized code that can’t be linked to personal information. But, of course, this is sensitive data, and therefore all use follows strict ethical protocols. The General Data Protection Law [LGPD] allows this type of research when conducted by universities and with anonymized data.”

The work was supported by FAPESP through a Doctoral Scholarship and a Research Internship Abroad Scholarship, both awarded to Barboza. It was also supported by a Research Grant to the Center for Metropolitan Studies (CEM), where Giannotti is one of the principal investigators. The CEM is one of FAPESP’s Research, Innovation, and Dissemination Centers (RIDCs).

About São Paulo Research Foundation (FAPESP)
The São Paulo Research Foundation (FAPESP) is a public institution with the mission of supporting scientific research in all fields of knowledge by awarding scholarships, fellowships and grants to investigators linked with higher education and research institutions in the State of São Paulo, Brazil. FAPESP is aware that the very best research can only be done by working with the best researchers internationally. Therefore, it has established partnerships with funding agencies, higher education, private companies, and research organizations in other countries known for the quality of their research and has been encouraging scientists funded by its grants to further develop their international collaboration. You can learn more about FAPESP at www.fapesp.br/en and visit FAPESP news agency at www.agencia.fapesp.br/en to keep updated with the latest scientific breakthroughs FAPESP helps achieve through its many programs, awards and research centers. You may also subscribe to FAPESP news agency at http://agencia.fapesp.br/subscribe.

Saturday, July 26, 2025

PSYCHOGEOGRAPHY FOR THE MASSES

'The urban space has a subconscious': a tour of Marseille’s colonial history

In the port city of Marseille in the south of France, a local artist is leading tours that shed light on the city's colonial past – a history little known today.


Issued on: 20/07/2025 - RFI

The former Grand Hôtel du Louvre et de la Paix in Marseille, bought in 1984 by the brand C&A. © Wikimedia/CC

One morning on Marseille’s main shopping street, Rue Saint-Ferréol, a group of around 20 people gathered around the artist Mariam Benbakkar for what she calls a "colonial downtown walk".

This neighbourhood, with its grand, imposing buildings, was constructed in 1848, when, after 20 years of war, Algeria was divided into three French departments.

"All the resources exploited in Algeria, but also in other colonies, arrived through the port of Marseille. This neighbourhood became a showcase for ship owners," explains Benbakkar.

She passes around a photo book ... Marseille, the first city to organise a colonial exhibition in 1906 ... Marseille and its colonial museum ... Marseille, the "gateway to the Orient".


'History made invisible'

Colonial history remains almost hidden in the city of Marseille. A small stained-glass window with a ship here, a faded pediment there – but no plaques or explanations.

Benbakkar leads the small group into the flamboyant Uniqlo store, whose dome is as high as that of the prefecture.

The reason for the building's grandeur? It used to be a branch of the Compagnie Algérienne, a French investment bank with operations in Algeria, Morocco, Tunisia and Lebanon.

The letters C and A embedded in the wrought iron railings, and a heavy armoured door in the fitting rooms provide clues to the building's past, but this isn't explicitly acknowledged.

"There used to be a magnificent painted ceiling, showing the colonised cities, but it was covered up by Uniqlo’s air conditioning," Benbakkar told RFI.

"This is knowledge that has been made completely invisible," notes Anne, one of the participants on the tour. Despite having grown up in these streets, she admits: "I know little about the hidden stories behind these buildings."

T
he building that now houses the Uniqlo clothing store on Rue Saint-Ferréol in Marseille is a former colonial bank. © Sophie Bourlet/RFI

For Pauline, another young woman in the group, the tour is an opportunity to reflect on France's colonial past. "I’m not from an immigrant background, but I still feel it concerns me," she says.

For Benbakkar, everyone has, in one way or another, a personal history with the French colonies.


She reminds people that she is neither a sociologist nor a historian, but she chooses to talk about the history of her city.

"For me, the best way of changing people's mentality is to pass it on through speaking about it, in the streets," she says.

She has been working with post-colonial imagery for several years, through her feminist collective Filles de Blédards ("Daughters of North African Immigrants") and her Instagram account Marseille Coloniale.

She says she iis fascinated by public spaces, architecture, land registries and private construction.

'These images affect us today'


"Marseille is a key city when it comes to France and migration. It has an extremely rich culture, but it’s not represented in cultural institutions," explains Benbakkar.

She mentions the names of forgotten industrialists and politicians: Jules Charles-Roux, a wealthy ship owner whose granddaughter married Marseille's mayor, Gaston Defferre; Édouard Marie Heckel, the founder of the colonial museum; Paulin Talabot, founder of the Paris-Lyon-Marseille railway and a lobbyist for the creation of the Suez Canal.

"There was a working bourgeoisie that made fortunes from the colonial empire. To this day, the redistribution of looted wealth is still not being done properly," she points out, referring to private enclaves in the city’s wealthy neighbourhoods.


Another stop on the tour is the C&A store – formerly the Grand Hotel du Louvre et de la Paix. It features four massive statues representing four continents.

The figures representing Europe and the Americas, draped in togas, carry a winged machine symbolising progress, while Asia and Africa, bare-chested, carry an elephant and a camel.

"These images, which were installed in the 19th century, still affect us today. It’s as if the urban space has a subconscious – eventually, we internalise those images," says Benbakkar.

"We need reparations for the damage caused by 19th-century capitalism and imperialism, which still impacts the banking, economic and private property systems today. And for that, we need to recognise that we have been robbed of our common property and demand our fundamental rights: access to the sea, to nature, to decent housing, to streets for all."

This article was adapted from the original version in French.

Monday, January 27, 2025

 WORKING CLASS PSYCHOGEOGRAPHY

London cabbies’ planning strategies could help inform future of AI






University of York




Researchers have measured the thinking time of London taxi drivers - famous for their knowledge of more than 26,000 streets across the city - as part of a study into the future of AI route-mapping.

Unlike a satnav, which calculates every possible route until it gets to the destination, researchers at the University of York, in collaboration with University College London and the Champalimaud Foundation, found that London taxi drivers rationally plan each route by prioritising the most challenging areas first and filling in the rest of the route around these tricky points.

Current computational models to understand human planning systems are challenging to apply to the ‘real world’ or at large scale, and so researchers measured the thinking time of London taxi drivers while they planned travel journeys to various destinations in the capital city.

Previous studies have shown the uniqueness of the London taxi driver’s brain; they have a larger posterior hippocampus region than the average person, with their brain changing in volume as a result of their cab driving experience.

Dr Pablo Fernandez Velasco, British Academy Postdoctoral Fellow at the University of York, said: “London is incredibly complex, so planning a journey in a car ‘off the top of your head’ and at speed is a remarkable achievement. 

“If taxi drivers were planning routes sequentially, as most people do, street-by-street, we would expect their response times to change significantly depending on how far they are along the route.

“Instead, they look at the entire network of streets, prioritising the most important junctions on the route first, using theoretical metrics to determine what is important. This is a highly efficient way of planning, and it is the first time that we are able to study it in action.”

Researchers showed that taxi drivers use their cognitive resources in a much more efficient way than current technology, and argue that learning about expert human planners can help with AI development in a number of ways.

Dan McNamee from the Champalimaud Foundation said: “The development of future AI navigation technologies could benefit from the flexible planning strategies of humans, particularly when there are a lot of environmental features and dynamics that have to be taken into account. 

“Another way to enhance these technologies would be to integrate the information about human experts into AI algorithms designed to collaborate with humans. This is a very important point, because if we want to optimize how an AI algorithm interacts with a human, the algorithm has to ‘know’ how the human thinks.”

Professor Hugo Spiers from University College London added: “This study certainly confirms what other studies have found  - the London taxi driver’s brain is incredibly efficient and its larger volume is put to good use in making sense of a highly complex city like London.”

The research is supported by the British Academy, the EPSRC UK, and Ordnance Survey and published in the journal PNAS.

Sunday, May 21, 2023

Nazis and normality: UK directors unsettle Cannes with films tackling ‘unseen’ evil

Steve McQueen and Jonathan Glazer separately confront the Holocaust with themes prompted by a resurgence of the far right



Vanessa Thorpe
CANNES
THE OBSERVER
Sat 20 May 2023 
STEVE MCQUEEN












Steve McQueen and Jonathan Glazer, two of Britain’s most admired and daring film directors, have disturbed Cannes audiences with a pair of extraordinary films that confront Europe’s murderous fascist past.

The directors, working independently on different projects about Nazi atrocities, both say they were prompted by the growth of political extremism and prejudice.

Glazer, best known as director of the sci-fi dystopia Under the Skin and the admired gangster film Sexy Beast, says he wants The Zone of Interest, which premiered to acclaim on Friday evening, to address “the capacity within each of us for violence”. He believes, he said this weekend, it is too easy to assume such brutal behaviour is a thing of the past.

“The great tragedy is human beings did this to other human beings,” he said. “It is very convenient to think we would never behave in this way, but we should be less certain of that.”

His unflinching look at the proximity to mass genocide in which German domestic life went on is set in the home of Auschwitz camp commandant Rudolf Höss.

McQueen’s documentary, Occupied City, also turns to historic detail to lay out the unpalatable facts that lie in the landscape of modern Amsterdam.

A scene from the film The Zone of Interest, directed by Jonathan Glazer, which portrays domestic life alongside the Auschwitz death camp. 
Photograph: AP

Speaking to the Observer in Cannes, McQueen said: “People aren’t stupid. They do realise on one level what happened, but somehow we need to smack ourselves out of this amnesia.”

The Oscar-winning director and his Dutch wife, Bianca Stigter, who wrote the script, were also prompted by the rise of the new right and Europe’s increasing political polarisation.

“The past can’t be on the surface all the time,” said Stigter, “but some things should not be forgotten. In today’s climate, with antisemitism and racism on the rise, it is good to be reminded of that moment of history.”

Both directors have turned to face Nazi horrors partly because witnesses to the Holocaust are no longer so numerous. Speaking to the press on Saturday, Glazer, who is a Jewish Londoner, said he felt it was vital to keep telling the story, despite the advice his own father gave him to just “let it rot”, and leave it to history.

“It is very important we do keep bringing it up and making it familiar; to keep showing it so that a new generation can discover it in film. The Holocaust is not a museum piece that we can have a safe distance from. It needs to be presented with a degree of urgency and alarm,” he said.

The two British films concentrate with forensic intensity on what people are capable of ignoring. While neither film portrays Nazi violence directly, both contain elements that will make difficult viewing for a mainstream audience, and not just because of their bleak focus.

Glazer’s film, made on location near the site of the former death camp in occupied Poland, is made in German. McQueen and Stitger’s documentary lasts four hours and deliberately has no narrative structure.

In each case there are few concessions to the world of popular entertainment. Glazer’s film has a lurid, deadpan mood, while McQueen’s relies on the build-up of appalling crimes recounted over footage of modern Amsterdammers going about their lives during the pandemic lockdown.

The Zone of Interest director Jonathan Glazer with cast members Sandra Hüller and Christian Friedel at Cannes 2023. Photograph: Sarah Meyssonnier/Reuters

“It is about evidence of things unseen,” said McQueen. “Meandering through one of the most beautiful cities to ramble in, so there is the perversity of the fact all these things happened in such a beautiful city.

“Our film is not a history lesson, it is an experience.”

In The Zone of Interest Glazer portrays domestic life alongside the Auschwitz death camp. It has an almost surreal tone as it juxtaposes the quotidian concerns of the Höss family with the mass torture, starvation and killing going on next door. Glazer loosely based his film on the Martin Amis book and developed it after spending time at Auschwitz.

The audacity of looking at Nazi atrocities afresh has been applauded by one of Germany’s great directors, Wim Wenders.

Before watching either film, Wenders, in Cannes for the premiere of his film Perfect Days this week, told the Observer that tackling the Holocaust in film is risky, but it remains important to try.

“We should be capable of looking back at war. If we can stand the ugliness of staring it in the face and if we can then stand doing it with actors … then we can learn for the present and for the future. But it is a painful process and it can also go damn wrong.”


Occupied City review – Steve McQueen’s moving meditation on wartime Amsterdam

The monumental film which tracks day-to-day life in Amsterdam under Nazi rule asks hard questions of what we think about the gulf between past and present



Peter Bradshaw
@PeterBradshaw1
THE GUARDIAN
Wed 17 May 2023 

Steve McQueen’s monumental film is a vast survey-meditation on the wartime history and psychogeography of his adopted city: Amsterdam, based on his wife Bianca Stigter’s Dutch-language book Atlas of an Occupied City, Amsterdam 1940-1945.

With a calm and undemonstrative narrative voiceover from Melanie Hyams, the film tracks day-to-day life in Amsterdam under Nazi rule. It spans the invasion in 1940; the establishment of the NSB, the collaborationist Dutch Nazi party; the increasingly brutal repression and deportation of Jewish populations to the death camps; and then the “hunger winter” of 1944 to 1945 as food and fuel became scarce in the city and the Nazis displayed a gruesome mix of panic and fanaticism as the allies closed in.

What McQueen does is effectively represent the maps and figure legends of the book on screen: the camera shows us the modern-day indoor and outdoor scenes on individual streets, canals, squares, buildings and jetties where the barbarity unfolded – but shows them as they are now, with 21st-century people going about their business while Hyams’ narration coolly summarises what happened in each particular spot, sometimes adding that the original building has been “demolished”. A prison yard where Jews were forced to parade around chanting: “I am a Jew, beat me to death, it’s my own fault” is now an open space overlooked by the Hard Rock Cafe. The headquarters of the secret police was on the site of what is now a school.

Occupied City lasts a little more than four hours, with an intermission, and the effect is something like an huge cinematic frieze or tapestry, or perhaps an installation. But it is also like an old fashioned “city symphony” movie, and, in its approach, perhaps bears the influence of Claude Lanzmann’s Shoah. It asks hard questions of what we think about the gulf between past and present. When we think about Nazi rule in Amsterdam, we think of … what? Flickering black-and-white newsreel footage, semi-familiar landmarks in monochrome, images of swastikas, an alien display of history, vacuum-sealed in the past. But McQueen shows us the modern world, in 4K resolution and there is a gradual realisation that for those involved in 1940, the Nazi occupation of Amsterdam happened just like this: in living colour in the here-and-now, with modern hairstyles and clothes.

Sometimes there is a disconnect between past and present. The site of a bygone horror might in 2023 be a scene of happiness: people ice-skating on a frozen canal and having innocent fun. At some other place we see a commemorative event: the laying of wreaths. At other times, there will be a parallel: in Dam Square the Nazi occupiers erected a bandstand; now we see a stage for outdoor performance. And then there are other, serious engagements with history and politics. We see an official statement of apology for colonialism and slavery; we see a huge and boisterous “climate strike” by young people and an event for the murdered Dutch investigative journalist Peter R de Vries. The effect is to show us that the past and present are not clear, with distinct layers of old/significant and new/insignificant: it is more fluid than that.

Occasionally, there is a weird frisson. Some of McQueen’s footage was shot during the Covid lockdown and the juxtaposition of this with Nazi oppression takes us – unintentionally – perhaps a little close to GB News territory. And audiences might be surprised at how little emphasis is placed on Anne Frank: it could well be that McQueen wanted to take us away from well-trodden arguments, and certainly to move away from the modern tourist cliches of coffee shops and sex worker windows. Although on that last point there is another eerie historical echo in the way in which sexual activity between occupier and occupied was variously policed, tolerated and punished.

In its scale and seriousness, Occupied City allows its emotional implication to amass over its running time. The effect is mysterious and moving.

Occupied City screened at the Cannes film festival.