Tuesday 1 April 2014

de Certeau Question reponse. 4.2.2014

1. When one is at a certain view where he can see images or scenes of people without them knowing, a person is essentially a voyeur where he can see everything compared to what he normally sees when standing at a ground level. He sees things that others can’t. Also, the fact that he is at such a significant height in contrast to his usual view, creates a space that he never would have thought existed if not for the 110th floor of the World Trade Center.

2. The transition from an idea into a reality is through the “social conditions of social life”. Using “Style Wars” as an example where artists would fill up subway trains with their graffiti, a spatial condition is created. The art by the artists are noticed by those who live there because their usual spatial condition has changed. The social conditions of that period of time are what triggers this art movement and this movement becomes so significant because of those who see it. The emergence from a simple form of expression into a form of movement at that time is because of the society where it is set in.

4. The act of walking is a form of exploration especially in a space we are unfamiliar with. We familiarize ourselves in an urban environment, similar to that of speech where talking helps us communicate and practice our language in order to understand someone else.

      6.I think that when we walk, we take in or surroundings our brain tries to remember and record everything a see as we move. This is similar to poems that its formats is like a pathway. You go through the word and as you read, you explore what is being said. Your brain creates a pattern of what you’ve experienced when reading the poem.

10. As children, everything around us is new- our surroundings constantly change – and we don’t notice it as much as we do as adults because our brains are hungry for more information about our surroundings in order to determine and distinguish what kind our world or environment we live in. When we reach a point where we have finally determined where we are, our minds have created or confirmed spatial conditions accumulated as a child. What we have experienced as children decide the ideas our minds produce today.


Monday 31 March 2014

MICHEL DE CERTEAU --> CLASS KEY CONCEPTS


PAGE 94
  • CITY
    • Production of Own SPACE
  • SUBSTITUTION OF NOWHEN
  • CREATION OF A UNIVERSAL SUBJECT
    • THE CITY
PAGE 99
  • MAPS & TOURS
PAGE 106
  • "CRACKS' IN THE SYSTEM--> HABITABLE
  • WALKING : URBAN SYSTEM : SPEECH : LANGUAGE
PAGE 92
  • THE WALKER & THE VOYEUR
PAGE 94
  • URBAN PRACTICES/ SPATIAL PRACTICES
PAGE 91
  • ARRESTED BY VISION
    • Disconnected from the City
    • Immobilized by the Eyes
  • ROME VS. NEW YORK 
    • A city composed of Paroxysmal places and Monumental reliefs

Sunday 30 March 2014

STYLE WARS + MICHEL DE CERTEAU

I think that the documentary "Style Wars" in relation to space is interesting in the it shows the difference of views between two opposing sides: the graffiti artists versus (those who do not understand the purpose of graffiti) parents, law enforcers..etc. According to the graffiti artists, graffiti is the mode of expression for them- they create and perform the art that they see fit, for themselves. The communication between the two opposing sides is what creates that feeling of crowd-ed-ness within the city. It can be seen that the setting in in the mid-80's through appearance of the trains and the streets which differ from the New York City that can be seen today.

The trend of the graffiti is a form of movements by those in the 1980's generation. Their art forms an awareness of the vast population of artists who see their art s a form of communication as well as understanding.

In relation to de Certeau....

The artists create a story through their art and no matter what, there will always be at least one person who will be attracted to this art. The attraction and interwining of the art and the person/ the viewer is inevitable.It is through those who see and appreciate that forms the importance of the graffiti. The spatial quality that the graffiti creates will affects those around it. The atmosphere of the environment will transform into whatever the viewer's interpretation is. The actions created in the city both by the artists and the viewers define the existence and the make-up of the city.


Wednesday 26 March 2014


Madeleine Ang Wong

March 16, 2014

HMS 103

Prof. Sacha Frey

 

Andrea Zittel’s “A-Z Carpet Furniture vs. de Cetreau and Foucault

 

Andrea Zittel’s “Carpet Furniture” project depicts the idea of having furniture by eliminating furniture itself. Zittel’s method of manipulating space to me was something that intrigued me because it almost felt like everything in the 3-Dimensional space was being flattened into a 2-Dimensional space- everything that required space suddenly didn’t. Zittel turns furniture into a carpet while still keeping the idea of furniture intact. The carpet shows an image of a flattened bed, chair and table. These objects all in a way represent the sense of comfortability in our lives. These objects that represent relaxation takes us to the next step where it is better to have an idea of something, reduced to a flat surface than to have everything but with the risk of losing space. Although that space that used to be occupied is physically empty, by keeping a plan view of the furniture, it is as if nothing has changed except that we are mentally liberated.

 

I think that this project in relation to Foucault makes sense when Foucault talks about the idea of discipline, enclosure and the coding of space where a body is confined to a specific space. I think Zittel eliminates the physical idea of this enclosure. The segregation of a body is void when that space the body is confined to is reduced to a carpet. Zittel deals with the constraint of Foucault’s claim that we are locked up in an area where we are reduced to being controlled by the space. According to Foucault, our bodies, in space are oriented on a way that we are directed to someone of authority and respect and that our bodies are blocked away from each other. If we were to think of desks and chairs in a classroom reduced to a simple carpet, would this idea of discipline still have the same affect? Is it not the way we perceive space that restricts us?

 

In relation to de Certeau’s “Spatial Stories” as well as looking at Zittel’s work as a spatial story, the notion the “if we limit ourselves to the home….. one can’t do anything in them”  and that a long lost attic “could be used for everything” ; how these are “treatments of space” is similar to Zittel’s focus in “Carpet Furniture” in that a space, when manipulated but at the same time still maintaining the idea of that space. It is not the space that defines our limitation or our liberation but it is how we treat the space that gives us the mentality of space as a limitation as well as liberation. Also, according to de Certeau, “it is the partition of space that structures it”; by keeping the idea of the partition constant even when reducing furniture from a three dimensional object to a two dimensional, the structure of the space is maintained. There is still the differentiation between spaces even without the physical division itself. It is the ‘treatment of space’ that defines the spatial quality of a certain space. In the case of the “Carpet Furniture”, the ‘treatment of space’, although the space physically changes, the way the space is treated is unchanged.

 

“What makes us feel liberated is not total freedom, but rather living in a set of limitations that we have created and prescribed for ourselves”

 

“Things that we think are liberating can ultimately become restrictive, and things that we initially think are controlling can sometimes give us a sense of comfort and security”

 

 Zittel’s statement above, in a sense is ironic because she says that we are only liberated when we are under circumstances controlled by us. If these circumstances or situations or rules are prescribed by us, then why do we constantly long for freedom or liberation? The idea that a self-imposed restraint is what frees us but at the same time keeps us from being completely liberated. Our desire for control over the situations we experience is what stops us from being free but at the same time the idea of being able to control our circumstances is what makes us feel free. I think that reducing the amount of material does not necessarily mean that there is a sense of liberation and freedom especially the 'rules'- the representation of that object is still existent. I also think that liberation is not necessarily a good thing. I think the limitation exists in order for use to appreciate liberation. The reduction of material in Andrea Zittel's carpet furniture still represents the idea of limitation through the boundaries of each 'flat' furniture but at the same time liberates us of the space normally occupied. Even though furniture no longer exists, furniture virtually still exists. Although the idea of liberation is presented through Zittel’s work, we are ever really completely liberated because the fact that the organic essence of the furniture is still kept through the appearance of the carpet. How the carpet was shown is evidence that there is still a boundary between complete liberation and discipline.

 

Through her work, Andrea Zittel raises the issues of using furniture to define a certain type of space. She makes use of her work to inform us of the importance of the spatial conditions and how simple arrangement of furniture within a space can define human movement. This can be seen through her ‘Comfort Units’ as well as her ‘Homestead Units’ and ‘Management Maintenance’. Her work directs us towards the focus of not only being able to manipulate and orient furniture in the way we choose to define space but she uses her work to bring across the fact or the realization that we can choose to control our furniture or our space. To be able to control the way we create space is an indication of what kind of space we wish to create. For example, Zittel’s project “Homestead Units’ where a home or a certain purpose of a space is compressed into a single unit that is dedicated on a single human need- Zittel takes away the unnecessary and combines what is needed in to a singular space; through this she gives her spectators the idea of what is could be like when a space is defined by its occupant’s need or desire and therefore the space controlling the occupant.

 

Wednesday 26 February 2014

Train Dreams



“Train Dreams” by Denis Johnson tells us about a man, Robert Garnier who works on the construction of railroads. I think that the fact the Garnier works in railroads correlates with de Certeaus’s idea of maps and tours. The railroad represents a kind of journey through time and space- similar to a map or even a tour. Johnson gives us a “tour” of the life of Robert Garnier through a series of events within the novel. 

Tuesday 25 February 2014

2.25.2014 continuation of Andrea Zittel in relation to de Certeau and Foucault

Andrea Zittel’s “ A-Z Carpet Furniture: Cabin”

Andrea Zittel’s “Carpet Furniture” project to me was something that intrigued me because it almost felt like everything in the 3-Dimensional space was being flattened into a 2-Dimensional space- everything that required space suddenly didn’t. Zittel turns furniture into a carpet while still keeping the idea of furniture intact. The carpet shows an image of a flattened bed, chair and table. These objects all in a way represent the sense of comfortability in our lives. These objects that represent relaxation takes us to the next step where it is better to have an idea of something, reduced to a flat surface than to have everything but with the risk of losing space. Although that space that used to be occupied is physically empty, by keeping a plan view of the furniture, it is as if nothing has changed except that we are mentally liberated.

I think that this project in relation to Foucault makes sense when Foucault talks about the idea of discipline, enclosure and the coding of space where a body is confined to a specific space. I think Zittel eliminates the physical idea of this enclosure. The segregation of a body is void when that space the body is confined to is reduced to a carpet. Zittel deals with the constraint of Foucault’s claim that we are locked up in an area where we are reduced to being controlled by the space. According to Foucault, our bodies, in space are oriented on a way that we are directed to someone of authority and respect and that our bodies are blocked away from each other. If we were to think of desks and chairs in a classroom reduced to a simple carpet, would this idea of discipline still have the same affect?

In relation to de Certeau’s “Spatial Stories” as well as looking at Zittel’s work as a spatial story, the notion the “if we limit ourselves to the home….. one can’t do anything in them”  and that a long lost attic “could be used for everything” ; how these are “treatments of space” is similar to Zittel’s focus in “Carpet Furniture” in that a space, when manipulated but at the same time still maintaining the idea of that space. It is not the space that defines our limitation or our liberation but it is how we treat the space that gives us the mentality of space as a limitation as well as liberation. Also, according to de Certeau, “it is the partition of space that structures it”; by keeping the idea of the partition constant even when reducing furniture from a three dimensional object to a two dimensional, the structure of the space is maintained. There is still the differentiation between spaces even without the physical division itself.

These Things I know for Sure
“What makes us feel liberated is not total freedom, but rather living in a set of limitations that we have created and prescribed for ourselves”

 I think that reducing the amount of material does not necessarily mean that there is a sense of liberation and freedom especially the 'rules'- the representation of that object is still existent. I also think that liberation is not necessarily a good thing. I think the limitation exists in order for use to appreciate liberation. The reduction of material in Andrea Zittel's carpet furniture still represents the idea of limitation through the boundaries of each 'flat' furniture but at the same time liberates us of the space normally occupied. 





Tuesday 18 February 2014

2.19.2014- Response to Andrea Zittel

Andrea Zittel’s “ A-Z Carpet Furniture: Cabin”


Andrea Zittel’s “Carpet Furniture” project to me was something that intrigued me because it almost felt like everything in the 3-Dimensional space was being flattened into a 2-Dimensional space- everything that required space suddenly didn’t. Zittel turns furniture into a carpet while still keeping the idea of furniture intact. The carpet shows an image of a flattened bed, chair and table. These objects all in a way represent the sense of comfortability in our lives. These objects that represent relaxation takes us to the next step where it is better to have an idea of something, reduced to a flat surface than to have everything but with the risk of losing space.
I think that this project in relation to Foucault makes sense when Foucault talks about the idea of discipline, enclosure and the coding of space where a body is confined to a specific space. I think Zittel eliminates the physical idea of this enclosure. The segregation of a body is void when that space the body is confined to is reduced to a carpet. According to Foucault, our bodies, in space are oriented on a way that we are directed to someone of authority and respect and that our bodies are blocked away from each other. If we were to think of desks and chairs in a classroom reduced to a simple carpet, would this idea of discipline still have the same affect?
These Things I know for Sure

What makes us feel liberated is not total freedom, but rather living in a set of limitations that we have created and prescribed for ourselves

 I think that reducing the amount of material does not necessarily mean that there is a sense of liberation and freedom especially the 'rules'- the representation of that object is still existent. I also think that liberation is not necessarily a good thing. I think the limitation exists in order for use to appreciate liberation. The reduction of material in Andrea Zittel's carpet furniture still represents the idea of limitation through the boundaries of each 'flat' furniture but at the same time liberates us of the space normally occupied


Saturday 15 February 2014

2.17.14- Response to Foucault's "Docile Bodies"

Foucault's idea of the body through the example of a soldier:
Foucault tell use of the soldier and how a soldier transitions from being one of honor to being one of power. He brings up the idea that a soldier overtime, is manipulated in different ways that they can be seen as robots. I think this raises the subject of how over time from the seventeenth century to the eighteenth century, there is the shift in the views of a soldier where it was their physical attributes being noticed then later their actions. 

Foucault's idea of the body " as the object and target of power"
Control. Foucault divides control in 2 ways: mental and physical.. The mind for "submission and use" and the body for “functioning and explanations" 

Foucault's idea of discipline

"Discipline requires enclosure"- the idea that a body is confined in a specific space creates the atmosphere of restriction which furthers the idea of control over a body. Where a body should go and what that enclosure the body goes to is for is effective in terms of the discipline of a body. 

Partitioning-"Each individual has his own place; and each place its individual. Avoid distributions in groups, break up collective dispositions". Furthering the idea of enclosure by dividing that space even more through partitioning- to keep a body focused and not dwell on anything else other than the matter at hand. An example would be a school situation where desks are placed on rows and columns- a student is not allowed to look neither left nor right but instead look straight ahead and the person in the considered position of authority. This is discipline in that the partitioning keeps the mind and the body reminded of its place- where it can and cannot go.

Coding of Space: "Particular places were defined to correspond not only to the need to supervise, to break dangerous communication, but also to create a useful space.  Again, that idea of controlling where the communication goes- dividing each space for each body and that certain body confined in that space- prohibited from moving left or right.

One’s classification: A body is defined by a rank- a means of identity. A changing space where one’s standing and rank differs. This is one of the only means of individuality within a body.

Monday 10 February 2014

Analysis of Cannoneer Court Dorms through Foucault's 'Docile Bodies'

 

Cannoneer Court girl's Hallway

Plan view of the "Cann"

Cannoneer Court is a freshman dorm where I live in and I chose it because it is a place that is occupied by students everyday.
In terms of circulation, the "Cann" is like a square shaped donut where there are two hallways in the first floor divided into the boys' hallway and the girls' hallway. There is only one entry point and a courtyard right in the middle. In the opposite side of the dorm is where students do their laundry- it is also a space for some drawing students to do their homework. It is in a way a big round circle. There is that sense of restriction and discipline where there are Resident Advisers at the end of each hallway. The first floor of the Cann is segregated by gender while the second floor isn't. In order to get into the Cann, you are required to swipe in with your ID card on order to record who goes in and out. 





Living in the Cann does have rules and restrictions:
1. Quiet hours at 10 on weekdays and 11 on weekends
2. No alcohol
3. No smoking within 25 feet
4.  The resident advisers have random room check after quiet hours










Docile Bodies by Foucault

1. The idea of docile bodies, where the view of a soldier transitions from the one who holds the highest honor to the one who is seen as a 'machine'. Would this transition have occurred of the idea of subservience, control and discipline did not exist?

2. Foucault raises the issue of the manipulation of our society. where our 'bodies' in a way are no longer our own. Even with society knowing this fact, ado our minds and bodies stop being consumed by the control and discipline we were given overtime?

Monday 3 February 2014

Wordsworth + de Certeau

William Wordsworth’s “Tintern Abbey” as a Spatial Story
William Wordsworth’s poem “Tintern Abbey” is a poem that focuses a lot on this sense of place. In the first stanza, the poem introduces us to a place that seems so dear to him and he uses his words as a vessel to convey images and ideas which later on relate to Michel de Certeau’s “ Spatial Stories”.

He starts off the first stanza with the idea of going back to a certain place; to revisit after “five summers, with the length of five long winters” which gives us the assumption that he is taking us to a place that in a way seems new to him. However, he goes on to tell us about this area where waters murmur instead of crash and where seclusion exists. Wordsworth in a way maps us an area of sweetness but gives us a tour through his thoughts and emotions. This subject relates to Michel De Certeaus’s “Spatial Stories” –Tours and Maps where a map is a written tool to give directions while a tour is similar to a map but with a movement- an action. The ‘tour’ Wordsworth gives us gives us the feeling of calmness while going through this place he describes in a very descriptive manner.

Wordsworth moves on next to tell us of “Mid groves and corpses” signifying the intrusion of man on nature. By using words such as “secluded”, “silence”, “Hermit” and “alone” gives the impression that he is longing or revisiting this area of escape where he is allowed to have thoughts in deep seclusion. This again can be seen in relation to “Spatial Stories” where the sense of ‘space’ and ‘place’ are differentiated. Wordsworth describes this incredible place with these descriptions like “cottage” and “landscape” which immediately attracts us to this place he keeps talking about but it is clear that even though this place is as beautiful as it is described, it is not the place that Wordsworth is focusing on but the space that it represents. To him, it is a place or a space where his thoughts are allowed to roam free- free of the noise. He is free of such clutter and is able to do what he wishes to do.

Wordsworth continues to further enhance our sense of calmness throughout the first stanza however towards the end of the stanza, we are a hint of sadness where he describes “The Hermit sits alone”- this goes back to his idea of seclusion earlier in the poem- which does not necessarily mean a bad thing but in my opinion it enhances the importance of the space to him and the reader. He makes use of the last line of the first stanza to define this space that seems so significant to him.


Wordsworth makes use of words to create a space, to define a place, to describe a map and to let us live through a tour. 

Tuesday 28 January 2014

Michel de Certeau's "Spatial Stories"

Questions:

  • Is it possible that the difference of space and place could be that space is a more unstable version of place?
  • What does de Certeau mean by "interlocutory judgement" ?



The idea of maps and tours is quite interesting in that these two words, although seem so similar not on differ in the way they are described or spoken; they also differ in terms of action where a tour is more of an experience where as a map is in a way a list of instructions. I think this idea of tour versus map and place versus space are similar that even though such arguably indistinguishable words could be far from the same. When talking about space as a "practiced space", in a way it is implied that space is a more for lack of a better word 'advanced' than place. However, it could also be said that space is a more unstable counterpart of place since space is seen to have more variables- space has 'movement' while place is 'fixed'. In the first page of the chapter, I was intrigued with the mention of spatial trajectories and its relation to'metaphor' or transportation because I started thinking of the idea that spatial trajectories could also mean a form of transition where could transition could be applied in stories where it could be seen as a connection between action and description.