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This chapter draws on 10 years of ethnographic fieldwork collected in gay bars from three American cities to explore the strategies LGBTQ subcultures deploy to recreate meaningful places within the vestiges of local queer nightlife. As gentrification and social acceptance accelerate the closures of LGBTQ-specific bars and nightclubs worldwide, venues that once served a specific LGBTQ subculture (i.e., leather bars) expand their offerings to incorporate displaced LGBTQ subcultures. Attending to how LGBTQ subcultures might appropriate designated spaces within a gay venue to support community (nightlife complexes), how management and LGBT subcultures temporally circumscribe subcultural practices and traditions to create fleeting, but recurring places (episodic places), and how patrons might disrupt an existing production of place by imposing practices associated with a discrepant LGBTQ subculture(place ruptures), this chapter challenges the notion of “the gay bar” as a singular place catering to a specific subculture. Instead, gay bars increasingly constitute a collection of places within the same space, which may shift depending on its use by patrons occupying the space at any given moment. Beyond the investigation of gay bars, this chapter contributes to the growing sociological literature exploring the multifaceted, unstable, and ephemeral nature of place and place-making in the postmodern city.

This paper describes a copper electroplating enabling technology for filling microvias. Driven by the need for faster, smaller and higher performance communication and electronic devices, sequential build up (SBU) technology has been adopted as a viable multilayer printed circuit manufacturing technology. Increased wiring density, reduced line widths, smaller through‐holes and microvias are all attributes of these high density interconnect (HDI) packages. Filling the microvias with conductive material allows the use of stacked vias and via in pad designs. Other potential design attributes include thermal management enhancement and benefits for high frequency circuitry. Electrodeposited copper can be utilized for filling microvias and provides potential advantages over alternative via plugging techniques. The features, development, scale up and results of direct current (DC) and periodic pulse reverse (PPR) acid copper via filling processes, including chemistry and equipment, are described.

This paper explores the potential of Henri Lefebvre's rhythmanalysis to understand data as an appearance assumed by the quantitative abstraction of everyday life, which negates a qualitative disjuncture between different natural and social rhythms – specifically those between embodied circadian and biological rhythms and the rhythms of working life. It takes as a case study a prototype performance research method investigating the methodological and practical potential of quantified self technologies to reconnect the body to its forms of abstraction in a digital age by means of the collection, interpretation and sonification of data using wearable tech, mobile apps, synthesised music and modes of visual communication. Quantitative data were selectively ‘sonified’ with synthesisers and drum machines to produce a 40-minute electronic symphony performed to a public audience. The paper theorises the project as an intervention reconnecting quantitative data with the qualitative experience it abstracts from, exploring the potential for these technologies to be used as tools of remediation that recover the embodied social subject from its abstraction in data for critical self-knowledge and understanding.

This chapter explores how knowledge of landscape has been produced by different groups of interests in the Mark 3 partnership New Town of Warrington, UK, referring specifically to a neighbourhood called Birchwood. I introduce my on-going research project Days of the New Town and present findings as a point of encounter between knowledge of landscape as professional expertise and as socially lived experience. I place this encounter within the theoretical context of Lefebvre’s writings on social space. Specifically, I use his spatial triad, three overlapping concepts on how space is produced as lived, conceived and perceived (see The Production of Space 1973 translated into English in 1991). Having grown up in Birchwood, I carry with me a knowledge of this space in terms of lived experience. Whilst I do not call upon personal experience in this chapter, the aim of bringing about a greater awareness of the New Town as a space of lived experience has been a motivational factor in researching and writing about the ways we formulate our knowledge of New Towns: knowledge which can co-exist with the official archives of New Town Development Corporations.

This chapter is an account of a rhythmanalysis of a representation of daily life in Venice in calle Rugagiuffa in a YouTube series. This series – named Rugagiuffa in reference to the calle in which was filmed – was self-produced by a group of young friends struggling with an everyday reality very different from the one presented by tour operators: a lack of rental property, unemployment or work that is demeaning and strictly off the books. In the first part of the chapter, I refer to the basic concepts of the rhythmanalytic methodology developed by Henri Lefebvre and Catherine Régulier and use it to describe Venetian rhythms starting from the relations between the body and urban space. Then, I adapt Lefebvre's thought in order to show how the status of ‘city of art’ coincides, for Venice, on the one hand, with its commodification for exclusively tourist purposes and, on the other hand, with the trivialisation of Venetian daily life, reduced to a tourist spectacle. In the final part, I use Rugagiuffa as a bittersweet mise-en-scène of the ability of the tourist monoculture to take possession at various levels of daily life and its relationship with the residents. I argue that the daily life of the Venetian citizens is subsumed within the city's tourist-commercial spectacle to the point of imposing, in spite of themselves, a high degree of consensus, adherence, commitment and integration.

The work of Henri Lefebvre Rhythmanalysis, Space, Time and Everyday Life (2004) is generally known as the original proposer of rhythmanalysis, inspired by the last chapter of Gaston Bachelard's book La dialectique de la durée (1963), entitled ‘Rhythmanalysis’. Nevertheless, it was the Portuguese philosopher Lúcio Pinheiro dos Santos who developed the notion of rhythmanalysis. In this chapter I address this episode of the genealogy of rhythmanalysis aiming to contribute to a broader understanding of its context of origin. I also present fragments of a rhythmanalysis exercise developed in Caminito, Buenos Aires, as part of my research in the field of art studies. Following a pre-Platonic notion of rhythm (Benveniste, 1966), I draw on those fragments as much as on the reflexive confrontation of rhythmanalysis with feminist and ch'ixi epistemologies (e.g., Haraway, 1988; Rivera, 2018) in order to propose what I come to call rhuthmanalysis.