Survey forms used in urban freight studies

Report produced as part of the Green Logistics project (EPSRC and Department for Transport funded). This report contains examples of survey forms used in urban freight studies both in the UK and overseas. The studies from which these examples have been drawn range in data from 1970-2008. The purpose of the report is to provide insight into the types of questions used in different survey techniques and also into the design of survey forms. It is hoped that bringing together in a single document these examples of urban freight survey forms will be of use to researchers involved in such studies in future in planning and designing their survey work. Examples of several different types of survey techniques are provided including: Establishment surveys -- Commodity flow surveys -- Freight operator surveys -- Roadside interview surveys -- Driver surveys -- Vehicle observation surveys -- Parking surveys -- Vehicle trip diaries -- Service provider surveys

Survey techniques in urban freight transport studies

This article reviews and assesses the various survey techniques that have been used in studies in which data have been collected to obtain an understanding of road-based urban freight transport activities. The review identified 162 such studies in 18 countries over the last 50 years, and 12 different types of urban survey technique. In the studies reviewed, establishment surveys have been the most commonly used technique, followed by freight operator surveys, vehicle observation surveys, driver surveys, roadside interview surveys, and vehicle trip diaries. Few examples of other survey techniques (commodity flow, parking, global positioning system, supplier and service provider surveys) were identified. Establishment and vehicle observation surveys have the potential to offer insight into a wider range of issues associated with urban freight deliveries and collections to and from establishments in a specific urban area than the other survey techniques reviewed. These two survey techniques can provide insight into the frequency of goods vehicles deliveries and collections by time of day and day of week, the activities involved in the loading/unloading process, and the freight requirements of individual establishments. However, all 12 survey techniques provide insight into varying aspects of urban freight operations and various combinations are therefore likely to be used in future studies.

Repressive desublimation and the great refusal in Bret Easton Ellis's fiction

In 1968, Herbert Marcuse believed that a Great Refusal was possible, one that would deny the exploitative power of corporate capitalism. Marcuse's vision was never realised. This essay argues that society today is in an advanced state of that which the Frankfurt School termed repressive desublimation and questions whether a liberationary praxis is still possible. It claims that Bret Easton Ellis's fiction choreographs an internalising of the forms of critique that marked 1968 and about which Marcuse writes. It is Ellis's act of double voicing that allows him to develop a duplicitous recalcitrant voice within the state of assimilation and it is double voicing which emerges as the key technique in Ellis's work that effects an ongoing critique in commodity society. Looking at Slavoj iek's recent revisionism of the notion of repressive desublimation, which connects Marxism and psychoanalysis, the essay considers how Ellis's novels, American Psycho, Glamorama and Lunar Park, function to address and reconfigure the relationship between the status of the Marxist fetishised object and the psychoanalytic phobic object in the present-day era of late capitalism. This essay seeks to illuminate how Ellis's fiction, through an involution of Marcuse's political theories, enacts a contemporary refusal from within the state of reification.

Floating on the same plane: metropolis, money and the culture of abstraction

This article argues that the emergence of a trans-disciplinary discourse of ‘visual culture’ must be understood as, above all, a constitutively urban phenomenon. More specifically, it is in the historically new form of the capitalist metropolis, as described most famously by Simmel, that the ‘hyper-stimulus’ of modern visual culture has its social and spatial conditions. Paradoxically, however, it is as a result of this that visual culture studies is also intrinsically ‘haunted’ by a certain spectre of the invisible: one rooted in those forms of ‘real abstraction’ which Marx identifies with the commodity and the money form. Considering, initially, the canonical urban visual forms of the collage and the spectacle, these are each read in a certain relation to Simmel’s account of metropolitan life and of the money form, and, through this, to what the author claims are those forms of social and spatial abstraction that must be understood to animate them. Finally, the article returns to the entanglement of the visible and invisible entailed by this, and concludes by making some tentative suggestions about something like a paradoxical urban ‘aesthetic’ of abstraction on such a basis.

Logics of generalization: Derrida, grammatology and transdisciplinarity

This article seeks to explore some issues regarding the different modes of generality at stake in the formation of transdisciplinary concepts within the production of ‘theory’ in the humanities and social sciences. Focused around Jacques Derrida’s seminal account of ‘writing’ in his 1967 book Of Grammatology, the article outlines what it defines as a logic of generalization at stake in Derrida’s elaborations of a quasi-transcendental ‘inscription in general’. Starting out from the questions thereby raised about the relationship between such forms of generality and those historically ascribed to philosophy, the article concludes by contrasting Derrida’s generalized writing with more recent returns to ‘metaphysics’ in the work of Bruno Latour and others. Against the immediately ‘ontological’ orientation of much recent ‘new materialist’ or ‘object-oriented’ thought, the article argues for the necessity of ‘different levels of writing in general’ through a continual folding back of absolute generalization into historically specific disciplinary crossings and exchanges; something suggested by but never really developed in Derrida’s own work.