On the SuperSpatial blog, Martin Gittins reviews a TV series on Venice, Italy, “the city destroyed by its own beauty”.
With the indigenous population dwindling to less than 50,000, and the oldest average age in Europe, da Mosto worries for the future of the city, as he brings his children up in what has become essentially a theme park for the hordes of visitors that cross the bridge link into the city, or pull up in the huge cruise ships that stop-over in Venice.
The danger for a city as a theatre or theme-park is that it becomes a stage set, a backdrop. This inevitably treats citizens as actors, there for others amusement. This leads to a simulated city as Baudrillard would have it, a city of the hyperreal as Umberto Eco might tell us. What happens when the audience is not there?
I’ve never visited Venice, but Paris shares some of the same traits. Obviously Paris is a large cosmopolity with much more than tourism going on, but the central tourist part of the city always feels a lot like a museum to me, moreso than other large cities I’ve visted. The city is simultaneously Paris — the capital of France, host to international corporations, home to an increasingly diverse 2.1 million people, cultural center — and also Ah, Paris™, an experience comprised of a certain style of architecture, cafes spilling out into tiny streets, romantic walks along the Seine, the French waiter, macaroons, the Notre Dame, les bouquinistes, baguettes, etc. That the two identities coexist in the same space and time, one within the other (Paris as cultural hypercube?), creates the potential for some real cognitive dissonance for the frequent tourist or long-term visitor attempting to straddle both worlds.