Guy Debord (1931-1994)
Founding member of the Situationist International
Founding member of the Lettrists
Author of the Society of the Spectacle
dissertation on the media infused life and its shortcomings
dissertation on our lives in relation to reproduction versus experience
Work in film and “Nothingness”
Last piece was a direct contradiction of his work—an idealistic look back at the Paris of his youth
overly romanticized
one person’s view
Situationist International (1957-1972)
Lettrists (1952-1957) precurser
Aimed to disrupt any form of what they took to be the dominant regime or capitalist power
Accelerate the collapse of “the society of the spectacle”
“Hoped to overcome art as a whole in the name of the only true art that did not allow itself to become co-opted by the spectacle and the market.”
“The artist was left with a single mission: to create new situations for a new kind of human being”
Children of the existentialists and the surrealists, one must acknowledge and use art and society, as well as overcome it.
Full of contradiction—to deny the cannon yet become a part of it
To create ephemera and entertainment as a critique of its own medium
To become famous off denying the idea of celebrity
To benefit from the capitalist system you hate- Make money
Discours sur les passions de l’amour
Map of a drift through the city of Paris, walked through city and turned wherever he chose
Not interested in art objects and styles
Interested in engaging life situations and social formations
“Psychogeography”
According to Debord: “The study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.”
Exploring cities via non-predictable paths and jolting back into awareness of the space
Contradictions:
Creating a “map” has an implied audience, thus Debord is forcing his experience on others
Cannot be an equal creation- his map is more widely disseminated than mine would be because of his resources and stature within a group
Is able to make money off of its reproduction
Contribute to his celebrity, because it was his singular view
Able to follow path, out of curiosity with Debord, not curiosity of the city
Reduce an experience into 2d form
creation of art object
Boyland Heights Pumpkin Map
Dennis Wood, 1982
many other maps created
viewers would know the streets very well as it was placed in a book of maps of the neighborhood, for its inhabitants
more pumpkins ended up in richer neighborhoods
speak to economic conditions
speaks to environmental knowledge
physicality of streets is removed, but referenced
Unable to navigate if you do not know, useless if you have a motive
Time and seasonally specific
Choose pumpkin faces randomly
some did not turn out right
some were repeated
Visually appealling
Manhattan
Harold Horowitz, 1997
Poem took a year to write
Personal experience
Physicality of streets removed
Geography, emotion, and culture referenced and work together in visual space
Imposing view of city on others
Color impressions
Idealize situation
Useless of you have a motive
Visually appealing
Relationships
City/Neighborhood with physical elements removed or skewed
This is not an areal view, street view, without the streets
useless if you have your own motive
what is next is not addressed
how do I get here?
How do I get out?
What is the audience’s role?
Time as a silent element
Horowitz’s Manhattan references events that are seasonal, or things that no longer take place in the corresponding space to their relationship on the map
Debord’s reflection of his own drift through Paris
How long was this drift?
I would not be walking through the same Paris has he did
How did the time of day effect his walking patterns?
Was it midday during a traffic jam?
Did he record his walk during it or after it had taken place? Could his walk actually have been different
Wood’s record of pumpkins
If you went there now there might be pumpkins, but they would not be the same.
If you went in the spring there would be no pumpkins
Would times of economic hardship change the amount of pumpkins?
Contradictions
When one is recording an experience there are many more questions that arise than answers
This is not an areal view, street view, without the streets
Personal view imposed and printed, although changing through time
Can maps really be universal?
Can maps really be personal?
Can maps pinpoint a time and space and experience that can be recreated or not recreated?
Are we inherently following someone else’s plan whenever we seemingly “drift” or use maps?
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