September 25, 2015 - 13:30
Across the nation, among human beings and animals, all species have been known to enact in some form of play throughout their development. Scientists and researchers have conducted many studies about the pros and cons of play. In the passage, Playing in Industrial Ruins: Interrogating Teleological Understandings of Play in Spaces of Material Alterity and Low Surveillance, the author, Tim Edensor, critically analyzes the concept of playing in industrial ruins. Edensor proposes that 'risky' play does not only occur in 'wild' spaces, such as industrial ruins, but also occurs in 'smooth' areas like playgrounds with surveillance. Moreover, Edensor seems to declare that types of play, who plays, and the outcomes of play are not defined by the environment.
Edensor initially writes about distinctions of playing in industrial ruins, and why this type of play may be attractive to some. In adventurous play, perhaps the most appealing quality in these 'wild' spaces is the unpredicability. "To walk in a ruin, whether it is cluttered by multiple objects and fragments, or comprises vast, open spaces is therefore to move within a material environment that continuously corporeally engages the visitor, distracting, repulsing or luring the body towards or away from particular routes" (Edensor). The author includes various examples of how kids and adults are attracted to these mysterious spaces. Yet Edensor counters this argument by voicing that not only unfamiliar places excite players. Play is always "potentially transformative or subversive of power" (Edensor).
Additionally, the writer points out that areas lacking surveillance allow for more freedom in activities. Given these activities include graffiti, vandalism, and hedonistic acts, "the general lack of surveillance and lack of value" (Edensor) is quite enticing to those who wish to partake in this play. For acts such as graffiti, "artists are drawn to ruins because they provide a realm outside official artspace against which artworks can be composed" (Edensor). Edensor suggests that what most appeals to these players are the "urges to claim space away from control" (Edensor). Once again, the author disputes this point by claiming "even where this is not the case the unruly effects of sensual stimuli are always liable to break through the carefully guarded city" (Edensor). Edensor stresses that certain qualities in an area will attract different kinds of play, yet this play is not limited to 'wild' spaces.
Furthermore, a short blog, Playing on the Wild Side, by Isabell.the.polyglot, proves dangerous play will inevitably occur in 'smooth' spaces. The posting describes a young girl who becomes familiar with a comfortable space to which her family brings her every weekend. "There was an... artificially-constructed beach near our house where there was a path that we would go for 'walks' every weekend" (Isabell). When the girl grows old enough to walk, she begins to explore and play, but also unknowingly puts herself at risk. "I soon realized that I had a lot more freedom to explore the world around me" (Isabell). The freedom Isabell feels in a familiar space encourages her to step outside of her boundaries. Isabell is comfortable in her well-known environment and knows her mother is watching her, thus she partakes in dangerous play and eventually injures herself.
Isabell's blog agrees with Edensor's notion that play remains undefined. Edensor begins by describing 'smooth' and 'wild' spaces and the types of play these spaces will attract. Yet, by including this underlying message that people who feel safe are more likely to take risk, Edensor challenges how environments affect play. In expansion to that, Edensor claims that industrial ruins or watched playgrounds will not limit what type of play occurs or who plays. Edensor argues that environments are influential to play, but not defining.
Works Cited
Tim Edensor, Bethan Evans, Julian Holloway, Steve Millington and Jon Binnie. Playing in Industrial Ruins: Interrogating Teleological Understandings of Play in Spaces of Material Alterity and Low Surveillance. Urban Wildscapes. Ed. Anna Jorgensen and Richard Keenan. New York: Routledge, 2011. 65-79.
Isabell. Playing on the Wild Space. Isabell.the.polyglot
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