tag:blogger.com,1999:blog-7869344031549906032024-03-13T15:15:40.219+00:00ParticulationsA psychogeography and cultural theory blogParticulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.comBlogger445125tag:blogger.com,1999:blog-786934403154990603.post-10937516167573592952024-02-12T12:47:00.000+00:002024-02-12T12:48:14.463+00:00Teeny's Zineys!<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnADK78h4MWDFH4WRDEbPWSuQSov_8QvEtCFS5Eos4jLMNCOjlEWmVthubR4q8QyYXNdg6MvwUqmBngZCtTGigTUpME4UpZEVon1qgDzZzhR-4gGx1xBNv6BdaZr692PmINYwn_lTTMsRsLDtBuODcFVbh7K2c-PchvnBnNDYYP2qIxUs61y-nYLcxHIdM/s519/Teeny%20Ziney%20Graphic%20-%20Red.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="387" data-original-width="519" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnADK78h4MWDFH4WRDEbPWSuQSov_8QvEtCFS5Eos4jLMNCOjlEWmVthubR4q8QyYXNdg6MvwUqmBngZCtTGigTUpME4UpZEVon1qgDzZzhR-4gGx1xBNv6BdaZr692PmINYwn_lTTMsRsLDtBuODcFVbh7K2c-PchvnBnNDYYP2qIxUs61y-nYLcxHIdM/s320/Teeny%20Ziney%20Graphic%20-%20Red.jpg" width="320" /></a></div><div><i>Below is a list of the current zines that are available. Just click on the link to take you to further information:</i></div><div><h3>The Problem With....KITSCH!</h3><div>This zine is about the author's cognitive dissonance in regard to kitsch. From the perspective of both a scholar and a fan, the author explores this particular aesthetic. <a href="https://particulations.blogspot.com/2024/02/the-problem-withkitsch.html">More info...</a></div></div><div><br /></div><h3 style="text-align: left;">What I Love About....WORDS!</h3><div>A zine about...yes, words! Not language or speech or books, although about all those things, too. Just out! <a href="https://particulations.blogspot.com/2024/02/what-i-love-aboutwords.html" target="_blank">More info...</a></div><div><br /></div><h3 style="text-align: left;">What I Love About...MAPS!</h3><div>A research-based guide on what the author finds interesting about cartography. Includes map analysis and discussion on vernacular mapping. <a href="https://particulations.blogspot.com/2023/12/what-i-love-aboutmaps.html" target="_blank">More info...</a></div><div><br /></div><h3 style="text-align: left;">How to Write a...MANIFESTO!</h3><div>A research-based guide on how to write a manifesto, including historical and contemporary examples. <a href="https://particulations.blogspot.com/2023/10/how-to-write-manifesto.html" target="_blank">More info...</a></div><div><br /></div><h3 style="text-align: left;">What I Love About....CATS!</h3><div>A zine about the complete and utter loveliness of cats. <a href="https://particulations.blogspot.com/2023/10/what-i-love-about-cats.html" target="_blank">More info...</a></div><div><br /></div><h3 style="text-align: left;">Hunstanton: Wish You Were Here!</h3><div>A psychogeography of this North Norfolk seaside town. This is a limited edition run of 25 zines. <a href="https://particulations.blogspot.com/2023/10/hunstanton-wish-you-were-here.html" target="_blank">More info...</a></div><div><br /></div><h3 style="text-align: left;"><br /></h3>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-48010382960165341652024-02-12T12:42:00.002+00:002024-03-02T09:10:08.006+00:00The Problem With...KITSCH!<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOreRo6kzZGU4uCqYbSFyGFdOiGx73-nUhBpalUN6Z2SvrQAZ8bG2M28We_Gz-y0yIMLKdJayYKS0kssa93tgdjLJlK0skpiVv-1CRnl0ArlLHy2OdXEz6SWZgOLGwWCXK32Zsssf7wsqKjKCAq20wH3lm0m8UZWGgptL1rPujsVU2KNdmFQUUilYx0O0c/s3345/Coloured%20Cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3345" data-original-width="2889" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOreRo6kzZGU4uCqYbSFyGFdOiGx73-nUhBpalUN6Z2SvrQAZ8bG2M28We_Gz-y0yIMLKdJayYKS0kssa93tgdjLJlK0skpiVv-1CRnl0ArlLHy2OdXEz6SWZgOLGwWCXK32Zsssf7wsqKjKCAq20wH3lm0m8UZWGgptL1rPujsVU2KNdmFQUUilYx0O0c/s320/Coloured%20Cover.jpg" width="276" /></a></div><br />This zine is for anyone interested in kitsch from an everyday or academic perspective. The author provides her own kitsch objects, alongside some well-known ones, in order to explore and critique kitsch throughout its history. <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1YYBRnRanssVKpQWY35_9-xOBJspKlc0fiUf2spkC3zDDpUvwCLlNuzaWzb1_Rg9q2E3_pLjtP5qvbek-loGeq_iFrlPbuTj14w_wb4afDeFK-wQ55CRfWkLkXWZzBxPD20ewdPZ0tCd0KYpj1HkwfkTxaNi8LsgZl7N7U2IVq3qlidrQZsEXzpp9NI5Q/s776/Kitsch%20-%20Back%20Cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="776" data-original-width="525" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1YYBRnRanssVKpQWY35_9-xOBJspKlc0fiUf2spkC3zDDpUvwCLlNuzaWzb1_Rg9q2E3_pLjtP5qvbek-loGeq_iFrlPbuTj14w_wb4afDeFK-wQ55CRfWkLkXWZzBxPD20ewdPZ0tCd0KYpj1HkwfkTxaNi8LsgZl7N7U2IVq3qlidrQZsEXzpp9NI5Q/s320/Kitsch%20-%20Back%20Cover.jpg" width="216" /></a></div><br />The zine is A5 size and includes text and black and white images (highly illustrated). The cover is coloured card (colour not specified). The contents includes, among other subjects: kitsch from the 19C, sixties kitsch and contemporary kitsch. Here is the contents page:<div>
<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge2GwU6a7IRSuM7Jf06kirjHKuiuReEvNzoVPl8D1v0OhuOeCO3JmXW6T_QBOOU1ACKSUBVrGVWrvgeew6hV0PQCbkFYhfGMWAsDUWgfYMY7OFJiDDdQ7_5kjBy7NZ2-_XC6ZyQRPeA40iliOeN0O766FR7FtwC69tC2fTS6IHMj77Dp1jpWb-iojoNCwz/s754/Kitsch%20-%20Contents.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="754" data-original-width="541" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge2GwU6a7IRSuM7Jf06kirjHKuiuReEvNzoVPl8D1v0OhuOeCO3JmXW6T_QBOOU1ACKSUBVrGVWrvgeew6hV0PQCbkFYhfGMWAsDUWgfYMY7OFJiDDdQ7_5kjBy7NZ2-_XC6ZyQRPeA40iliOeN0O766FR7FtwC69tC2fTS6IHMj77Dp1jpWb-iojoNCwz/s320/Kitsch%20-%20Contents.jpg" width="230" /></a></div><br /><div></div><b>Price:</b> The zine is £3.90 and postage for UK comes under standard letter. Please enquire for international postage.</div><div><br /></div><div><b>Please note:</b> This is a handmade zine and, by definition, will consequently have imperfections.</div>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-86146300923019807162024-02-04T10:43:00.008+00:002024-03-02T09:11:03.881+00:00What I Love About...WORDS!<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfY-XkKVe_XVOgtbSfbk5TZgD2PDqMAh-PEI_J9gNJtueH9LxH2Rr8KRon2zIfwrbNe9oWTFNmDxVyOdaz6TTFDaGFWPFmUz8WaDTpg7eyv27-GW9XV-Om-dEleAPTV7m1WvKeUKEpJ_KfP5R_gm3jupNWc1GFsWAj7vh2PEzgTGeGWmh7AUOZh1NefH1M/s2273/Coloured%20Covers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2225" data-original-width="2273" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfY-XkKVe_XVOgtbSfbk5TZgD2PDqMAh-PEI_J9gNJtueH9LxH2Rr8KRon2zIfwrbNe9oWTFNmDxVyOdaz6TTFDaGFWPFmUz8WaDTpg7eyv27-GW9XV-Om-dEleAPTV7m1WvKeUKEpJ_KfP5R_gm3jupNWc1GFsWAj7vh2PEzgTGeGWmh7AUOZh1NefH1M/s320/Coloured%20Covers.jpg" width="320" /></a></div><p>This zine is for anyone interested in words in the most general sense of the term. It may be the spoken word, books or political speech. In a more general sense the potential reader may be interested in culture or ideology. This zine discusses how words change and how words work.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzH_25XyiS__9yY9Hco7ITeMVUTJK4Ncc_XsufoOCyNSQ-EuGQBEy0VXJuMn3OGwN6dOgpAe-ZVAq6ioAPMoX1W79sLp9gDQBUBE02MjQkUZBYguq_-KGHV06dQcoG9ASTTSUAhu1hN7VRI_FV9sSMlLV_NXUfJQTqStadUf63eU3LxboZJK_mYgT8_nVw/s1123/Words%20-%20Front%20&%20Back%20Cover%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="1123" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzH_25XyiS__9yY9Hco7ITeMVUTJK4Ncc_XsufoOCyNSQ-EuGQBEy0VXJuMn3OGwN6dOgpAe-ZVAq6ioAPMoX1W79sLp9gDQBUBE02MjQkUZBYguq_-KGHV06dQcoG9ASTTSUAhu1hN7VRI_FV9sSMlLV_NXUfJQTqStadUf63eU3LxboZJK_mYgT8_nVw/s320/Words%20-%20Front%20&%20Back%20Cover%201.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><span style="text-align: left;">The zine is A5 size and includes text and black and white images. The cover is coloured card (colour not specified). The contents includes, among other subjects: how language evolves, how words have actions, portmanteau words, and inventing words. Here is the contents page:</span><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJHf9RQMLvItPuMhAhJ4EcYDLfWs-C3lexT-1z9a7ziiJbXInvwmoeHztA9wlFWgz89C-5zFQ7psTpoqvp5kalMDdq7A_rnzoeOzsDaXdNz8PwleHgqszPWfCsdoxBbqYfsmFgqfN1a1RS0u2dP9R5AFAOFTbRA6-9yxj8jjZSwudqDyRohTf7qL9GKfQ/s737/Contents.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="737" data-original-width="537" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJHf9RQMLvItPuMhAhJ4EcYDLfWs-C3lexT-1z9a7ziiJbXInvwmoeHztA9wlFWgz89C-5zFQ7psTpoqvp5kalMDdq7A_rnzoeOzsDaXdNz8PwleHgqszPWfCsdoxBbqYfsmFgqfN1a1RS0u2dP9R5AFAOFTbRA6-9yxj8jjZSwudqDyRohTf7qL9GKfQ/s320/Contents.jpg" width="233" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>Price:</b> The zine is £3.90 and postage for UK comes under standard letter. Please enquire for international postage.</div><div><br /></div><div><b>Please note:</b> This is a handmade zine and, by definition, will consequently have imperfections.</div>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-30354970711113090362023-12-01T13:06:00.001+00:002024-03-02T09:11:43.022+00:00What I Love About...MAPS!<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3SnKG7PUHXnDZTK7MflilKgCcScWIVYUfbGbPLDQvGTuCEZDChZ_ll61psi9vuJ_Y0HH8LnrvFHF2xmlmW9N6LhEMRHuYN_3mGtKIUfQBPX-lK_o1tKwjRamiWZRETWiAK5T965_sR29CEM6KU-DK-zMsW2BMCcNCHPh05QlsID5KhxO6rSke-mPudkDt/s4000/Mpas%20Hard%20Copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3SnKG7PUHXnDZTK7MflilKgCcScWIVYUfbGbPLDQvGTuCEZDChZ_ll61psi9vuJ_Y0HH8LnrvFHF2xmlmW9N6LhEMRHuYN_3mGtKIUfQBPX-lK_o1tKwjRamiWZRETWiAK5T965_sR29CEM6KU-DK-zMsW2BMCcNCHPh05QlsID5KhxO6rSke-mPudkDt/s320/Mpas%20Hard%20Copy.jpg" width="240" /></a></div><br /><p></p><p>This zine is for anyone interested in cartography and psychogeography, or those who might even be new to maps. While it is research-based it is written in layman's terms. This is the first full-colour zine in the series.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9L8nZICc4AKyGsKmA24P02W_y-sCmFeAvKHrHUPhn5qbzdUCI4-VoPpxk9HIB-fLWOUOrQl-MPRLnsoOZrPbAiV2rkekSCD5U9NwNvRmf8edygNa9U7lkDM71ZYFUpYY8j93DXGMTSAZe4Q8nGfF75RP6S2f1ay78NUTi49r-t_z7TjfJvL-JKqO3EnUM/s1123/Front%20and%20Back%20Cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="1123" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9L8nZICc4AKyGsKmA24P02W_y-sCmFeAvKHrHUPhn5qbzdUCI4-VoPpxk9HIB-fLWOUOrQl-MPRLnsoOZrPbAiV2rkekSCD5U9NwNvRmf8edygNa9U7lkDM71ZYFUpYY8j93DXGMTSAZe4Q8nGfF75RP6S2f1ay78NUTi49r-t_z7TjfJvL-JKqO3EnUM/s320/Front%20and%20Back%20Cover.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">The zine is A5 size and includes text and coloured maps. The cover is coloured card (colour not specified). The contents include the following: historical maps, maps in popular culture and vernacular mapping. The zine also includes work by the author: a map and an original (first time published) poem on maps. Here is the contents page:</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSuxhfgxFCm7rNaLHWg0ruHeiFfKDHfch850HthvmjVz3ypGUPc4ellhcCFu1NQSNptwXzlook2WqhhJ5vQqV9sPFH2zeQbArmLrtOuEFXuKgzybt3x4o0aXDlIj4zHQysylgM8VPnp1XzpTgQqLcCjiQfkXxj19YjGXHmsWS7gTqGNq41TN3uygdsISj5/s758/Contents%20Page.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="758" data-original-width="566" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSuxhfgxFCm7rNaLHWg0ruHeiFfKDHfch850HthvmjVz3ypGUPc4ellhcCFu1NQSNptwXzlook2WqhhJ5vQqV9sPFH2zeQbArmLrtOuEFXuKgzybt3x4o0aXDlIj4zHQysylgM8VPnp1XzpTgQqLcCjiQfkXxj19YjGXHmsWS7gTqGNq41TN3uygdsISj5/s320/Contents%20Page.jpg" width="239" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>Price:</b> The zine is £4.90 and postage for UK comes under standard letter. Please enquire for international postage.</div><div><br /></div><div><b>Please note:</b> This is a handmade zine and, by definition, will consequently have imperfections.</div>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-89724709677923429232023-10-19T16:29:00.007+01:002024-03-02T09:12:40.193+00:00How to write a . . . MANIFESTO!<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG3jduLCMetIjijZO5dMPE8FIpmGyB7GQjmTmPMv1usSwsFIwrKKLk6H8BpAX2D5YPssV_WZkSEhWA2IttFnYe3Kn-_oKhh-oB7fXnE0zZLZ2y4KyQBpA4AnNqNHdPK_9rnQKwnOLBp9YWuDGej_hVcFAN8u7Qy_PF9F07PMnCYaj9D6LRXZLCd6IiaPtP/s4000/20231016_170606%5B1%5D.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="4000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG3jduLCMetIjijZO5dMPE8FIpmGyB7GQjmTmPMv1usSwsFIwrKKLk6H8BpAX2D5YPssV_WZkSEhWA2IttFnYe3Kn-_oKhh-oB7fXnE0zZLZ2y4KyQBpA4AnNqNHdPK_9rnQKwnOLBp9YWuDGej_hVcFAN8u7Qy_PF9F07PMnCYaj9D6LRXZLCd6IiaPtP/s320/20231016_170606%5B1%5D.jpg" width="240" /></a></p><p>This is the latest zine from the <i>Aca-Zine</i> series, which is designed to introduce academic thought and analysis, in an accessible way, to anyone interested in the subject matter of the zine.</p><p>The zine is A5 size, has 11 black and white pages, which includes text and images. The cover is coloured card (colour not specified). Below is further information on the author.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO8JD8mHEaCkVaQX76ESxua4B3lAMQiyYHjZ0RrvWqpC_bNcKNsxOtE6qfdQbpyg7Znvxrre-hEAjNxuHPp0mAa-jumRuQHfPLJRIIDd3FYI40fl06q77-tlAQ-bhsLmcsnVW5HqFmYz3WR0xMZ7eWsT8wS3A3LShojqkG-YcolKPmDKnX0illmTi4HZoI/s1123/How%20to%20Write%20a%20Manifesto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="1123" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO8JD8mHEaCkVaQX76ESxua4B3lAMQiyYHjZ0RrvWqpC_bNcKNsxOtE6qfdQbpyg7Znvxrre-hEAjNxuHPp0mAa-jumRuQHfPLJRIIDd3FYI40fl06q77-tlAQ-bhsLmcsnVW5HqFmYz3WR0xMZ7eWsT8wS3A3LShojqkG-YcolKPmDKnX0illmTi4HZoI/s320/How%20to%20Write%20a%20Manifesto.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">This zine does what it says. Based on the research and analysis of two famous historical manifestos, a modern day manifesto and providing an example created by the author, it will show you how to create your own manifesto on whatever subject. Here is the contents page:</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXBUOHVofoiYT2rsOD5b3KZckzc3OpJOXxWYqS8d7agK3-1vMs7EVhm4vMHjMEj1NlU9K56VDKPUkps-c1wXfCZYMO5vw0utJeltbGPvAho-6tRGu25amUbw6-l4B1ADUDS4W9wbMO9Wl0yFdBmOFS4sakdTE_CwHm6KhAShsHms9dmAhJucWhD3N0M3Pp/s752/Manifesto%20Contents.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="752" data-original-width="547" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXBUOHVofoiYT2rsOD5b3KZckzc3OpJOXxWYqS8d7agK3-1vMs7EVhm4vMHjMEj1NlU9K56VDKPUkps-c1wXfCZYMO5vw0utJeltbGPvAho-6tRGu25amUbw6-l4B1ADUDS4W9wbMO9Wl0yFdBmOFS4sakdTE_CwHm6KhAShsHms9dmAhJucWhD3N0M3Pp/s320/Manifesto%20Contents.jpg" width="233" /></a></div><div><br /></div><br /><span style="text-align: left;"><b>Price:</b> The zine is £3.90 and postage for UK comes under standard letter. Please enquire for international postage.</span><div><br /></div><div><b>Please note:</b> This is a handmade zine and, by definition, will consequently have imperfections.</div>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-5409434390828215782023-10-15T16:34:00.004+01:002024-03-02T09:15:07.272+00:00Hunstanton: Wish You Were Here!<div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAZ1rCSKk3octJM3NtZNOvt84VKaveBLk5t7EtMsq6tILFCQ3Aqg0dDYs7K00EuHtZsVtd82RscZgIP5lFBW3J6rgQ-VqmrmSb_MtPlzKLU4w4bAqRiWKHaGbR3uoOTlrYdRR_ZdoYoBQ4r6EeB_7_fpdSn05nEVJS0ahjsj2rIYYPYd0xMVavBRL3BFDE/s4000/20231015_162910%5B1%5D.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="4000" data-original-width="3000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAZ1rCSKk3octJM3NtZNOvt84VKaveBLk5t7EtMsq6tILFCQ3Aqg0dDYs7K00EuHtZsVtd82RscZgIP5lFBW3J6rgQ-VqmrmSb_MtPlzKLU4w4bAqRiWKHaGbR3uoOTlrYdRR_ZdoYoBQ4r6EeB_7_fpdSn05nEVJS0ahjsj2rIYYPYd0xMVavBRL3BFDE/s320/20231015_162910%5B1%5D.jpg" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">My latest zine is out. It's a psychogeography of the seaside town Hunstanton, in Norfolk. Here's the text from the prologue: </span></div><div class="separator" style="clear: both; text-align: left;"><blockquote><i>I know this is a cliché, but this booklet is a kind of love letter to Hunstanton: one that is deeply influenced by both my childhood (being a progeny of King’s Lynn) and the nostalgia of my late teens and early twenties, when me and my peer group used to socialise here. This is way before Hunstanton became the ‘posh’ seaside town it now is. This text is both a celebration and lament. How can it be both, you may well ask. I left King’s Lynn, for London, in 1987 and I returned to Hunstanton in 2022 due to an unexpected change in my personal circumstances. This is the story of that journey: from the standpoint of a person whose perspective has changed. Moreover, also the space that is being explored has changed…</i><p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrRhh4DoVJusHJh8s-11IO0NCRFl5RXvZ-yKftfBA3KTMcGpvDM7lr7fYDyrFRYkWhkzCCoTdRWx0R9K_Gr9YFcZrhLSRCLFn5wEmedOW6byt7tJ1u6YnzZzfMDWUtsf7LS1X8a3tGEFkc9YzW7jdV4u7bjwvD99XN_SlfJS_LmF2qz-kjpcRh31v6lguN/s1123/Front%20&%20Back%20Cover.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="794" data-original-width="1123" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrRhh4DoVJusHJh8s-11IO0NCRFl5RXvZ-yKftfBA3KTMcGpvDM7lr7fYDyrFRYkWhkzCCoTdRWx0R9K_Gr9YFcZrhLSRCLFn5wEmedOW6byt7tJ1u6YnzZzfMDWUtsf7LS1X8a3tGEFkc9YzW7jdV4u7bjwvD99XN_SlfJS_LmF2qz-kjpcRh31v6lguN/w320-h226/Front%20&%20Back%20Cover.jpg" width="320" /></a></p></blockquote></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_4h2qAQJYZ3QU76nvuanwmvOuvyQhMhu9knqy8BwnEHFDf1-TDkxsTAKNJq7WQ55Vt5ZajXW86KXolBA8V_uu_HpfldFgmMyas3dZfx-s_uONI6QM3HMpi7w0Ig-UGCgJHZ_mq5yWK1_lmPzrQVbXjDdT53lUWrh7pPkKh0Ba3klcHkXvE_mETgJZ2cu/s780/Contents.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="780" data-original-width="556" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_4h2qAQJYZ3QU76nvuanwmvOuvyQhMhu9knqy8BwnEHFDf1-TDkxsTAKNJq7WQ55Vt5ZajXW86KXolBA8V_uu_HpfldFgmMyas3dZfx-s_uONI6QM3HMpi7w0Ig-UGCgJHZ_mq5yWK1_lmPzrQVbXjDdT53lUWrh7pPkKh0Ba3klcHkXvE_mETgJZ2cu/s320/Contents.jpg" width="228" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>Description and Price:</b> The A5 zine is in black and white with photos of Hunstanton and other related images. It also includes some academic analysis. The cover is made of yellow card and the zine is photocopied and professionally trimmed and stapled, retailing at £5.50 plus postage (UK is standard letter). The appendix includes a map, a collage and a poem.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b>Note:</b> This is a Limited Edition run and consists of a run of only 25. No more will be printed when these have all gone.</div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br />Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-65678907521632957562023-10-03T17:45:00.004+01:002024-03-02T09:17:46.934+00:00What I Love About . . . Cats<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijAeTGytpRGVnYJCuwGFxAoFlxozgXqBHpJXZ-Vxs7PTaTkqk7jrkH5KlGn4N3E7HWqGUe6QABJ6-w0sx-_2gdQChxDGb2KnwTMyVEkP93E3cbcfTxVQmd0gkCyHaaYr6-3291T4DsVNPzd8OrvHAe1FVYVDYAtxhGFlkVVuaDDwBVUcaFtP6DXPa_y5MK/s768/Zine%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijAeTGytpRGVnYJCuwGFxAoFlxozgXqBHpJXZ-Vxs7PTaTkqk7jrkH5KlGn4N3E7HWqGUe6QABJ6-w0sx-_2gdQChxDGb2KnwTMyVEkP93E3cbcfTxVQmd0gkCyHaaYr6-3291T4DsVNPzd8OrvHAe1FVYVDYAtxhGFlkVVuaDDwBVUcaFtP6DXPa_y5MK/w279-h400/Zine%201.jpg" width="279" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">My new zine is out. It's about - yes, you can see by the title - all the things I love about cats (well not all, as there isn't a book big enough for that!).</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">The A5 zine has 13 black and white pages of text with photos of cats, some of whom I know in person! It also includes researched facts and figures about cats. The cover is made of coloured card (colour not specified) and the zine is hand trimmed and stapled. Please note: this is a hand produced zine and, by definition, consequently has its imperfections.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJOf50UtuRJsx_MVTgg4Tpa5U8NvQL2DOzjM5B67vK3MQDTpGKx_tYBPhXdtvyLuT3L_SAYQKniNGf3Y7sm1p-8N9S1zsOoEDoePnuZYWHsqAtMxL2Y2vQ_bYzVfRfxEyScBbXsKvptrGhfyohLiNPvJaHWfEx4eWeGhLbMqp-WZdCR_TokbMVqPrj6zaG/s754/Zine%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="754" data-original-width="545" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJOf50UtuRJsx_MVTgg4Tpa5U8NvQL2DOzjM5B67vK3MQDTpGKx_tYBPhXdtvyLuT3L_SAYQKniNGf3Y7sm1p-8N9S1zsOoEDoePnuZYWHsqAtMxL2Y2vQ_bYzVfRfxEyScBbXsKvptrGhfyohLiNPvJaHWfEx4eWeGhLbMqp-WZdCR_TokbMVqPrj6zaG/w289-h400/Zine%202.jpg" width="289" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxcqlpVfv3b_gZidz28oKXK85amWoCca-oFTSQM3vUqJ-C32RHjHssE2jK1r0YRhFnxIqgLHsUIfjojVwB1srk76P8YIAc8N4MjzUgGNC_zWqJicuMNGnKVIEgfvZRmbnqUVHnA2jodFbh4il4opbkUtPdc-xFFBda7BTesfT8ztquASXxD9zpmiaUIbb-/s742/Zine%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="742" data-original-width="565" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxcqlpVfv3b_gZidz28oKXK85amWoCca-oFTSQM3vUqJ-C32RHjHssE2jK1r0YRhFnxIqgLHsUIfjojVwB1srk76P8YIAc8N4MjzUgGNC_zWqJicuMNGnKVIEgfvZRmbnqUVHnA2jodFbh4il4opbkUtPdc-xFFBda7BTesfT8ztquASXxD9zpmiaUIbb-/w305-h400/Zine%203.jpg" width="305" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><b>Price:</b> The zine is £3.90 and postage for UK comes under standard letter. Please enquire for international postage.<div><br /></div><div><b>Please note:</b> This is a handmade zine and, by definition, will consequently have imperfections.</div>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-54113617652488120892023-08-29T12:37:00.003+01:002023-08-29T12:37:58.451+01:00<p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ZaO61_nWOrPl6z6aoO_e9k_YN1ORrLJMPegGu-xDiLT9HhiXmaH2AyLW31fVvsxk9geXdIc_kVZFTDlOfFPBHCmuG-FBKFl4IML7WGrhW-vPkBwrXh356J_lilJNUk39-gmt6nB4HRm3fm77mPvTqBXVhl1bdAEm3_q-EgGlaCNBGV8Xmop1szyTXckS/s1024/Tina%206.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ZaO61_nWOrPl6z6aoO_e9k_YN1ORrLJMPegGu-xDiLT9HhiXmaH2AyLW31fVvsxk9geXdIc_kVZFTDlOfFPBHCmuG-FBKFl4IML7WGrhW-vPkBwrXh356J_lilJNUk39-gmt6nB4HRm3fm77mPvTqBXVhl1bdAEm3_q-EgGlaCNBGV8Xmop1szyTXckS/s320/Tina%206.jpg" width="320" /></a></div></div><br /><b><span style="color: #38761d; font-size: medium;">Schizocartography of a Seaside</span></b><p></p><p><span style="text-align: center;">The above is a recent 'map' of mine published by </span><a href="https://colossive.com/" style="text-align: center;" target="_blank">Colossive Press</a><span style="text-align: center;">. It is for a series entitled 'Colossive Cart</span>ographies'. They are foldable maps in an A5 size. Below are some more images of my own version. You can buy it <a href="https://colossive.com/product/schizocartography-seaside-tina-richardson-colossive-cartographies-zine/">here</a> (current price £2.00).</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcL_59Q_yvyM4VhHamCoSqOeZQN_fXAZiFuKVtIK1OYWIraC3b71NE6czmfPFLWGZ6jojsqkIZVlReFz2oD_5QxrHsXiWd0VN6o5ftgkp6efED9LSju1XHNWEPSbe5vTKWERwq7QMnPpI9E76N7DOZPtRbZhlHATPx6BFNfi2v0ACkSt02RP4pLwRBnig9/s1024/Tina%208.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcL_59Q_yvyM4VhHamCoSqOeZQN_fXAZiFuKVtIK1OYWIraC3b71NE6czmfPFLWGZ6jojsqkIZVlReFz2oD_5QxrHsXiWd0VN6o5ftgkp6efED9LSju1XHNWEPSbe5vTKWERwq7QMnPpI9E76N7DOZPtRbZhlHATPx6BFNfi2v0ACkSt02RP4pLwRBnig9/s320/Tina%208.jpg" width="320" /></a></div><p></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR-3AKadb7iGEA5AykpdAzz9pbxca6ElEToQDZ_oInq0BOdz5StToIqBWyHqZ_PE6_RwCIe7y9Dih_3Akow0B_NHYNRU7tb3kvDLAEIR1t6Y2AXXXNYKOLcsSlWxf-aWO5NVg_kHcXC-346PU1Gi0VaQrwXcg5Tn2lZ5Qmvj7pdbykzDbnEfcWE1faNZsq/s1024/Tina%203.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR-3AKadb7iGEA5AykpdAzz9pbxca6ElEToQDZ_oInq0BOdz5StToIqBWyHqZ_PE6_RwCIe7y9Dih_3Akow0B_NHYNRU7tb3kvDLAEIR1t6Y2AXXXNYKOLcsSlWxf-aWO5NVg_kHcXC-346PU1Gi0VaQrwXcg5Tn2lZ5Qmvj7pdbykzDbnEfcWE1faNZsq/s320/Tina%203.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDERYlNBcOQQjtzJ5ALemo0NjAbO9RU-zackI1d3iCBiBZUv5bF3uxfVgPnElr2LjgJwnB9MNA3Ih8Rf2KEuw2-jaHoTDGWJapxz9bi4PA3D-nxkvVtLdyk-cTCJmrErl3N7Bxmlsl11MBc_K-D0zkcXzm4cpvHuVbsiNh64NQSF2DbktbDUs7RyR6KgMt/s1024/Tina%201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDERYlNBcOQQjtzJ5ALemo0NjAbO9RU-zackI1d3iCBiBZUv5bF3uxfVgPnElr2LjgJwnB9MNA3Ih8Rf2KEuw2-jaHoTDGWJapxz9bi4PA3D-nxkvVtLdyk-cTCJmrErl3N7Bxmlsl11MBc_K-D0zkcXzm4cpvHuVbsiNh64NQSF2DbktbDUs7RyR6KgMt/s320/Tina%201.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-11462653920731813792023-02-19T10:29:00.000+00:002023-02-19T13:03:39.428+00:00Walking Inside Out - Introduction<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-cBUJZmSFRt4/WYmBH8DsY1I/AAAAAAAAC7Q/6DlqJ42uSAUkLrYWwtfmubx7CyFrzjJbACLcBGAs/s1600/Walking%2BInside%2BOut%2BCover%2B1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://2.bp.blogspot.com/-cBUJZmSFRt4/WYmBH8DsY1I/AAAAAAAAC7Q/6DlqJ42uSAUkLrYWwtfmubx7CyFrzjJbACLcBGAs/s320/Walking%2BInside%2BOut%2BCover%2B1.jpg" width="213" /></a></div>
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<br />
<h3 style="text-align: center;">
<span style="color: #073763;"><b>Introduction:</b><b>A Wander through the Scene of British Urban Walking</b></span></h3>
<h3 style="text-align: center;">
<span style="color: #073763;">by Tina Richardson</span></h3>
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<div style="text-align: left;">
WHAT IS PSYCHOGEOGRAPHY?</div>
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Get a map of your local area and spread it out on the floor. Study the map, imagine the terrain, find your preferred route – perhaps a bridleway or a towpath – and trace it on the map. Grab your coat off the hook in the hallway and put on your sturdy shoes. Leave the house and dump the map in the wheelie bin. Forget the map. Go to the nearest bus stop and get on the first bus that comes along. Get off when you feel you are far enough away from home that the area is unfamiliar. Begin your walk here.<br />
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Psychogeography does not have to be complicated. Anyone can do it. You do not need a map, Gor-Tex, a rucksack or a companion. All you need is a curious nature and a comfortable pair of shoes. There are no rules to doing psychogeography - this is its beauty. However, it is this that makes it hard to pin down in any formalised way. It is also this ‘unruly’ character (disruptive, unsystematic, random) that makes for much discussion about its meaning and purpose - today more than at any other time.<br />
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This volume does not pretend to have a definitive answer to what psychogeography is, but it does propose to open up the space that can be defined as psychogeography, providing examples and encouraging debate. In his introduction to <i>Psychogeography</i> (2006) Merlin Coverley asks: “Are we talking about a predominantly literary movement or a political strategy, a series of new age ideas or a set of avant-garde practices?” and goes on to say that it is all the above (2006, 9-10). In just a couple of sentences we have opened up a can of nebulous worms on the ambulatory behemoth that psychogeography (or urban walking) is. What this selected volume of essays does is present the state of play as it is for psychogeography in the UK in the 21st century...<br />
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Click <a href="https://drive.google.com/file/d/0B7kRaBXKnbMzdFFlcUpoQ3RlQlU/view?usp=sharing">here</a> to download a pdf of the introduction.<br />
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<a href="https://1.bp.blogspot.com/-cnIw0Lgzdgk/WYmC_2FklEI/AAAAAAAAC7c/02uHm9QTbVs8CEo_NG8MapF4YCjgcJKhgCLcBGAs/s1600/Walking%2BInside%2BOut%2BCover%2B2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="1296" height="160" src="https://1.bp.blogspot.com/-cnIw0Lgzdgk/WYmC_2FklEI/AAAAAAAAC7c/02uHm9QTbVs8CEo_NG8MapF4YCjgcJKhgCLcBGAs/s320/Walking%2BInside%2BOut%2BCover%2B2.jpg" width="320" /></a></div>
<br />Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-40476578202415977692022-10-09T17:08:00.004+01:002022-10-09T17:08:58.029+01:00The Routledge Handbook of Pink Floyd<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF4cAtzBF84qFPTE6zs1JoqPWgnvDqVcY64NYuNQF1kfcJVgVHASTwhCaE2D8hlXKYLYwR1Ei5CowywiHPutNenzi-FNnSzF-EkzWWeY9wFfPzvqK2S21jotfRF37wBsPCQZBLV4s8dcesDKEVYcjtdu_53AR6BA4VEIVFUfaS3sqNRmIs0Jj2epNUxQ/s498/Pink%20Floyd%20Book.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="498" data-original-width="350" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF4cAtzBF84qFPTE6zs1JoqPWgnvDqVcY64NYuNQF1kfcJVgVHASTwhCaE2D8hlXKYLYwR1Ei5CowywiHPutNenzi-FNnSzF-EkzWWeY9wFfPzvqK2S21jotfRF37wBsPCQZBLV4s8dcesDKEVYcjtdu_53AR6BA4VEIVFUfaS3sqNRmIs0Jj2epNUxQ/s320/Pink%20Floyd%20Book.jpg" width="225" /></a></div><p><i><span style="color: #674ea7;"><b>Hello Folks,</b></span></i></p><p><i><span style="color: #674ea7;"><b>I have contributed a chapter in this new book on Pink Floyd. I have included a book overview below, beneath that are a few paragraphs introducing my own chapter. You can find full details of the book <a href="https://www.routledge.com/The-Routledge-Handbook-of-Pink-Floyd/Hart-Morrison/p/book/9780367338275" target="_blank">here</a>.</b></span></i></p><p><i><span style="color: #674ea7;"><b>Thanks, Tina</b></span></i></p><p><i><b>The Routledge Handbook of Pink Floyd</b>,</i> edited by Chris Hart and Simon Morrison, is intended for scholars and researchers of popular music, as well as music industry professionals and fans of the band. It brings together international researchers to assess, evaluate and reformulate approaches to the critical study and interpretation of one of the world’s most important and successful bands. For the first time, this Handbook will ‘tear down the wall,’ examining the band’s collective artistic creations and the influence of social, technological, commercial and political environments over several decades on their work. Divided into five parts, the book provides a thoroughly contextualised overview of the musical works of Pink Floyd, including coverage of performance and sound; media, reception and fandom; genre; periods of Pink Floyd’s work; and aesthetics and subjectivity. Drawing on art, design, performance, culture and counterculture, emergent theoretical resources and analytical frames are evaluated and discussed from across the social sciences, humanities and creative arts. The Handbook is intended for scholars and researchers of popular music, as well as music industry professionals. It will appeal across a range of related subjects from music production to cultural studies and media/communication studies.</p><p><b>Chapter 20: Hey You! Subjectivity and the Ideological Repressive State Apparatuses in Pink Floyd’s
<i>The Wall</i> by Tina Richardson</b></p><p>Pink Floyd’s long musical history (spanning two decades at its peak) had always reflected the cultural zeitgeist, even at a time when it was at odds with other musical movements of the day, as was the case in the late 1970s with the advent of punk rock. While it is often reported that punk heralded the demise of progressive (or psychedelic) rock – “Never trust a fuckin’ hippie” Johnny Rotten if often wrongly claimed to have said – Pink Floyd’s single from The Wall, ‘Another Brick in the Wall’, was no.1 for five weeks in 1979 (UK music charts). Alan Parker’s film <i>Pink Floyd – The Wall</i> (1982) followed, and Pink Floyd entered film history.</p><p>Parker’s film, which responded directly to Roger Water’s lyrics, presents us with the protagonist Pink, a rock star who is at odds with his position as a revered musician: he is both a victim of the system of music production and a fascist proponent of it. Early in the film, we see him in his hotel room, barely conscious, waiting for the gig to start. Pink (played by Bob Geldof) looks both physically ill and mentally exhausted (and psychologically removed from the hotel room he occupies). His agent, and the doctor employed by him, inject him back to consciousness – ‘Just a little pinprick’ – so that he can perform for the audience. Within a short space of time, Pink is on stage in a Nazi-style rally as he sings the lyrics to ‘In the Flesh’, asking the audience “So ya… Thought ya… Might like to… Go to the show.” It is this relationship with the audience – one in which he hides from them, but also presents himself to them as if he was their leader – that creates cognitive dissonance in him.</p><p>In his book <i>Which One’s Pink?</i> Phil Rose (2002) acknowledges the cultural moment, as it was for rock audiences in the 1970s. He describes an early scene where we see Pink’s reaction to his fans, “As the emergency doors break open at the concert venue, crowds of frantic people are seen running down an empty corridor. In his imagination Pink superimposes on this scene the trampling feet and screaming faces of battle”. It seems, for Pink, that if he must deal with his fans, it will be from the position of someone who is at war. A war that appears externalised for Pink, is really internal and existential.</p><p>We see many images of Pink sitting in a chair, alone in his hotel room, holding a cigarette which is turning to ash. This dialectic – the ‘marauding hordes’ (of music fandom, of battle, of collective violence) versus the ‘estranged loner’ – sets up the story of Pink’s life (and along with that a multiplicity of contradictions) as it unfolds in the narrative presented to us through the album and film. At the same time, it creates for the cultural theorist another position open to interpretation, that of the structures of socio-political, cultural space and power, as they pertain to their influence on the individual (in Pink’s case, as they are imposed upon the individual). Nevertheless, we need to be careful not to set up these oppositions in too binary a way, since by using phrases like ‘social structure versus the individual’, we imply that these phenomena sit in clearly delineated camps. The very structures of society that are so prominent in<i> The Wall</i> – the army, the family, education, the media, the judiciary - are what creates the subject in the first place. The subject, which for Louis Althusser, is never an individual: the subject is always the subject of the ideology of societal structures.</p><p>This chapter examines the narrative of Pink’s existential anguish as it pertains to the ideological and repressive structures that surround him. By using Althusser’s theory, as defined in ‘Ideology and the Ideological State Apparatuses’, I will discuss how these structures have the simultaneous effect of forming Pink as a subject, yet overwhelming him to the extent that his psyche is fractured and all that is left for him to do is to create a wall to protect himself from the outside world. It is the closing scene ‘The Trial’ that will be analysed to explore the compromise the subject has to make regarding their own position within these structures of power. Following this, the chapter also examines Pink’s existential crisis in the context of the symbolism of the wall. But, firstly, we need to examine Althusser’s concept of the ‘subject’ in some more depth...</p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-62863114049286156702022-02-11T17:13:00.001+00:002022-02-12T13:28:21.620+00:00From Ivory Towers to Passionflowers: Tina Richardson Interviews Fenella Brandenburg<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj-NgCbYhZvSyMaNc_FfyDLv5WmT8WTBEI9T5_Sfs6_0zddasVY080eW8tWwm4mgGkD3LvaiMCaZJjpP2jIbKE9cVLICWXaJzasqOxWdcouJHGkNVSsMPiWwokDM3hyGJgb50hWk_NU6eHEysluD8eumLHsBXvkQXO35T7dThxJXQvMOkWI0YAyxdqraA=s625" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="417" data-original-width="625" height="214" src="https://blogger.googleusercontent.com/img/a/AVvXsEj-NgCbYhZvSyMaNc_FfyDLv5WmT8WTBEI9T5_Sfs6_0zddasVY080eW8tWwm4mgGkD3LvaiMCaZJjpP2jIbKE9cVLICWXaJzasqOxWdcouJHGkNVSsMPiWwokDM3hyGJgb50hWk_NU6eHEysluD8eumLHsBXvkQXO35T7dThxJXQvMOkWI0YAyxdqraA=s320" width="320" /></a></div><p></p><p class="MsoNormal"><i style="mso-bidi-font-style: normal;">My interview with
Fenella Brandenburg coincides with her move from academia into the world of a
full-time writer-author. Here we talk conference storm-outs, academic
superegos, psychogeography and passion projects. I hope you enjoy our dialogue:
as C. S. Lewis said ‘Fenella is on the move’!<o:p></o:p></i></p>
<p class="MsoNormal">I find Dr. Brandenburg sitting - not coincidentally, I’m
sure – in the Islington café she insisted we meet in, called ‘Tina, We Salute
You’ (her little psychogeographic joke). When she told me we were meeting here,
I honestly thought she was making up the name. I’ve included the photo above to prove
its existence.</p>
<p class="MsoNormal">Dr. Brandenburg, who was promoted to Reader just before her
retirement from academia (it turns out this was her way of saying ‘f**k you’ to
Higher Education), looks very unlike the person I saw last at the 2017 4WCOP
Psychogeography Conference. It transpires she was wearing a white bobbed wig and
was dressing like a ‘bag lady’ in order to maintain her disguise. It seems there is now
no reason to keep up the pretence. I note that she actually has somewhat Titian
hair (not unlike my own) and is a zappy dresser: not a fleece or ankle sock in
sight!<o:p></o:p></p><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEigCWixGl6LGqQGmLKtUPZyABZ7Ijh4hA4C0ERvYDnIwpL15MOM3w6FYyDSllI1arSwFBZ0jch4ku2CbZlZEEl_vsp5thZ2f3o5ibmvIEQDWcM_gH8PRoHqt3VrQtmFPBN0caMQXwhHtLOCDylgROJNMnG9NoD2NGEmpJJzl9NcBDwpblIlqZTtRx2isw=s1439" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="807" data-original-width="1439" src="https://blogger.googleusercontent.com/img/a/AVvXsEigCWixGl6LGqQGmLKtUPZyABZ7Ijh4hA4C0ERvYDnIwpL15MOM3w6FYyDSllI1arSwFBZ0jch4ku2CbZlZEEl_vsp5thZ2f3o5ibmvIEQDWcM_gH8PRoHqt3VrQtmFPBN0caMQXwhHtLOCDylgROJNMnG9NoD2NGEmpJJzl9NcBDwpblIlqZTtRx2isw=s320" width="320" /></a></div><p class="MsoNormal">Brandenburg, who recently moved from somewhere in the North
of England (she seems reluctant to say where, for some unknown reason –
although the academic rumour mill says it is related to reports of stalking
made by another academic) to Islington to, as she says “Be with my peoples”.
The pressing questions are ‘why her move from academia?’ and ‘what was the
fallout of 4WCOP?’. Here is the transcript of our interview in full and
unedited:<o:p></o:p></p>
<p class="MsoNormal"><b>TINA: </b>Thank you for meeting me, Fenella. I love the choice
of venue. How have things been since you left academia a month ago and how did
the university feel about being snubbed when you resigned the day of receiving
your readership?<o:p></o:p></p>
<p class="MsoNormal"><b>FENELLA:</b> Well, it had been a long time coming, the
Readership, and I had been overlooked on a number of occasions. I actually only
hung on in HE for that long so that I could resign when I finally received it.
You know the adage ‘Revenge is a dish best served cold’, well the ‘cold’ was
about 5 years of torture, but was well worth it. The adage turns out to be
true, but for all the reasons that are the opposite of what is implied by the
adage, if one wants to get semantic about it. That, and also I heard rumours
that that Bollinger bloke was moving to my university, and I just wasn’t up to
having to deal with his ‘advances’ any more.<o:p></o:p></p>
<p class="MsoNormal"><b>T:</b> I’d like to talk about David Bollinger later, if that’s
alright with you, but for the moment, what have you been doing, since you left?<o:p></o:p></p>
<p class="MsoNormal"><b>F:</b> Well, I very speedily set up a local writing group. I
plan to take the same approach that the postmodern university does to how it
‘tasks’ its own academics. This is oriented around what HE calls the Work Load
Model (WLM), however I will be calling my model of work allocation applied to
the members of my fiction writing group the WLF, The Work Load Fiction. I think
this will work out well for all concerned and it allows me to take a firm hold
on what is happening and provide a hypodermic approach to the management of the
group (for those of you not familiar with the term it comes from communications
theory, it means top down and coming from above). People love being
micromanaged, despite their protestations to the contrary.<o:p></o:p></p>
<p class="MsoNormal"><b>T:</b> So what do you see as being wrong with academic workload
being managed by those who are clearly qualified enough to be managers?<o:p></o:p></p>
<p class="MsoNormal"><b>F: </b>The WLM epitomises the postmodern university <i style="mso-bidi-font-style: normal;">par excellence</i>. It is the moment where
the university’s bureaucratic superego reaches its full potential in the daily
control of its academics. For Freud, the superego represents all authority
figures (initially the Father), but eventually the part of the individual that
negotiates with the id (the basic instincts), producing the ego, the aspect of
the individual that is presented to the world. On the level of power, say a
Foucauldian model of power, if you will, this is tantamount to a kind of
self-surveillance. I am absolutely behind the WLM and have no problem in
bringing it into the creative sphere, in this case fiction writing. Creative
people can get completely out of control, there is no absolute structure for
them to adhere to, and they must be constrained at all costs.<o:p></o:p></p>
<p class="MsoNormal"><b>T:</b> Thank you, Fenella. I’m not sure everyone would agree
with you there, but I appreciate your candour. Can I ask you: Why the move to
creative writing?<o:p></o:p></p>
<p class="MsoNormal"><b>F: </b>Well, I’d met my 5 year plan: to leave at the point of my
Readership. Let me just say, plans are incredibly important: 1, 2, 3, 4, 5 year
plans are not fiction at all, whatever academics say. They help keep you on track
and ensure you meet targets, which are not at all unreasonable despite what you
may read in regard to those adversaries of HE research-related policy. In
regard to my move: I’m a well-published academic (as you know, your own
publishing company has published some of my work on '<a href="https://particulations.blogspot.com/2020/07/presupposed-actualization-and-discourse.html" target="_blank">presupposed actualization</a>'). I’m already an author. Really,
how hard can it be?<o:p></o:p></p>
<p class="MsoNormal"><b>T:</b> Can we talk about psychogeography? What are you currently
working on in that field and do you still consider yourself a psychogeographer?<o:p></o:p></p>
<p class="MsoNormal"><b>F:</b> Well, I am currently working on a project on abandoned
shopping centres in the US. Partially inspired by your research on the Trafford
Centre. I am also looking at a rural space, the Black Forest national park in
Baden-Wűrrttemberg. As you know, I was born near there and I inherited my family cabin in the area. I am however, somewhat offended by your second question:
that I may no longer consider myself a psychogeographer. I appreciate the
damage done by the paper Bollinger and I delivered at 4WCOP 2017, but I feel we
more than made up for that in our paper based on Ballard’s <i style="mso-bidi-font-style: normal;">Concrete Island</i> in 2019.<o:p></o:p></p>
<p class="MsoNormal"><b>T:</b> Talking about David Bollinger: can I ask you some
questions about some of the gossip about where you and he were located. During
2016-2020 rumours abounded about where you were both working. I heard that
Bollinger had an office in the Psychology Department at Huddersfield at one
time. But managers in that school denied that he even existed, despite him clearly
having a desk and a label on the door. One of the academics - a friend of mine, Dr. Alex Bridger - said he knew Bollinger was there as he saw his coat over the
back of the chair. That, and he actually shared an office with him. I also
heard that you had a temporary office in the old Maltings building, that once
was the Geography Department at the University of Leeds, but has now been demolished. You also, purportedly, had an office in the School of Design at one point. But then, I also
heard that you were popping up in online Zoom meetings at MMU in the early days of Covid.<o:p></o:p></p><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiLb9DvP8yazttARWO_bc088O3GSWPHTkP3vcEfm7l9PdDR7ttjZ1UzJQmSDfl7124UU59DkbduK3qHVITBpm0cE4sVVB6sL9qvrElyGcfbP18c-u9Q9baOte-Vmjcx9C12Y3oOQX9chRY8n3GNrByy6NyZlJ_oo0FAsuBjY5_5pkN3Ooi3SkZwa1XPyQ=s4128" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="4128" data-original-width="2322" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiLb9DvP8yazttARWO_bc088O3GSWPHTkP3vcEfm7l9PdDR7ttjZ1UzJQmSDfl7124UU59DkbduK3qHVITBpm0cE4sVVB6sL9qvrElyGcfbP18c-u9Q9baOte-Vmjcx9C12Y3oOQX9chRY8n3GNrByy6NyZlJ_oo0FAsuBjY5_5pkN3Ooi3SkZwa1XPyQ=s320" /></a></div>
<p class="MsoNormal"><b>F: </b>I cannot vouch for Bollinger. You could ask Charlotte
Tilbury, his wife. She’s a counsellor and also writes for <i style="mso-bidi-font-style: normal;">The Guardian</i>, I believe (good luck with her psychoanalysing that
miscreant, is all I can say!). However, I can confirm that I did work at Leeds
during the period you mention, and I will supply proof of that, which you can
include on your blog. [included above]</p>
<p class="MsoNormal"><b>T:</b> Thank you for your clarification of the rumours, Fenella.
Can I just ask one more question before we end the interview, for our
psychogeographic audience? Where do you see psychogeography going? <o:p></o:p></p>
<p class="MsoNormal"><b>F: </b>Well, as you know, you very arrogantly labelled the current phase of
psychogeography as ‘The New Psychogeography’ in your own book <i style="mso-bidi-font-style: normal;"><a href="https://rowman.com/ISBN/9781783480869/Walking-Inside-Out-Contemporary-British-Psychogeography" target="_blank">Walking Inside Out</a>: Contemporary British
Psychogeography</i>. I have to say, however reluctantly, that I am more on the same
page as Bollinger with this: psychogeography is reaching its zenith inasmuch as
it is now all about its own undoing and negation. This is best summed up by an
urban-walking colleague of mine, who will remain nameless, who said, when I
asked him the question ‘Why did the psychogeographer cross the road?: ‘I’ve no
idea why the psychogeographer crossed the road, but I bet when they got there
they found Iain Sinclair had already written about it’!<o:p></o:p></p>
<p class="MsoNormal"><b>T: </b>Thank you so much for your time, Fenella.<o:p></o:p></p><br /><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"></div></div><p></p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-76140281829904355972021-09-06T09:17:00.007+01:002021-09-06T10:31:03.859+01:00Psychogeography News - September 2021<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-7vCjbjyYets/YTXIqvJsfAI/AAAAAAAADak/RWq0zO6_wbgQ1LWli9-0TyYNS0x18PIRACLcBGAsYHQ/s703/Psychogeography%2BNews%2B9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="703" data-original-width="703" height="320" src="https://1.bp.blogspot.com/-7vCjbjyYets/YTXIqvJsfAI/AAAAAAAADak/RWq0zO6_wbgQ1LWli9-0TyYNS0x18PIRACLcBGAsYHQ/s320/Psychogeography%2BNews%2B9.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><p></p><p class="MsoNormal"><i>Hello All. I hope you
had a good summer. Here’s September’s contribution to psychogeography related
news. I apologies for it being a bit thin on the ground this month (for want of
a better psychogeography pun). Thanks, Tina<o:p></o:p></i></p><div class="separator" style="clear: both;">
<p class="MsoNormal" style="margin-bottom: 0cm;"><b><i><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Psychogeography
and Walking</span></i></b><b><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">The RIBA
Journal recently had an article about psychogeography feature in it: <a href="https://www.ribaj.com/culture/psychogeography-allows-us-to-explore-the-sensory-city-tszwai-so">‘Psychogeography
allows us to explore the sensory city’</a> by Tszwai So. If you haven’t come across
it before, the <a href="https://walklistencreate.org/">Walk Listen Create</a>
website advertises lots of events around the world. Also, see Andy Howlett's <a href="https://flatpackfestival.org.uk/event/paradise-lost-q-and-a?perf_no=1698" target="_blank">Paradise Lost</a> event on 26th September: cinema screening and Q&A.</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><b><i><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Cartography</span></i></b><b><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">There’s a lovely map from Stockport’s Gigantic Leap Frog Art
Trail - available <a href="https://www.totallystockport.co.uk/event/stockports-gigantic-leap-frog-art-trail/">here</a>
- which took place in July. The International Conference of Cartography and Map
Design is taking place on September 27 and 28 in Turkey: you can find out all
about it <a href="https://waset.org/cartography-and-map-design-conference-in-september-2021-in-istanbul">here</a>.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><b><i><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Architecture</span></i></b><b><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">This article in <i>The
Guardian</i> looks at, would you believe, <a href="https://www.theguardian.com/world/gallery/2021/jul/31/buried-in-concrete-mafia-architecture-in-pictures">mafia
architecture</a> (who knew that was a thing). And, finally, this interesting and
lengthy <i>Archinect</i> article (including
some good images form the book), looks at Reyner Banham’s book <i><a href="https://archinect.com/features/article/150277201/reyner-banham-is-los-angeles-the-architecture-of-four-ecologies-at-50">Los
Angeles: The Architecture of Four Ecologies</a>.<o:p></o:p></i></span></p></div><p><br /></p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-30733714166278550052021-08-21T10:09:00.003+01:002021-08-21T16:31:04.135+01:00Discovering Lockdown Modernism in the North<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-M8M_Wgh4EZA/YSDBrPGDdYI/AAAAAAAADaU/iljYxGL250oVG5NcFJKDExcRrfr2UggKQCLcBGAsYHQ/s640/Leeds%2BMerrion%2BCentre%2BMural%2Bby%2BEric%2BTaylor.jpg" style="display: inline; padding: 1em 0px;"><img alt="" border="0" data-original-height="640" data-original-width="640" src="https://1.bp.blogspot.com/-M8M_Wgh4EZA/YSDBrPGDdYI/AAAAAAAADaU/iljYxGL250oVG5NcFJKDExcRrfr2UggKQCLcBGAsYHQ/s320/Leeds%2BMerrion%2BCentre%2BMural%2Bby%2BEric%2BTaylor.jpg" width="320" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Leeds Merrion Centre Mural by Eric Taylor</span></div><div><br /></div><div>Guest post by Lisa Brown<p></p> <i>Here Lisa talks about her interest in modernist art and architecture and the discoveries her and a friend made during the last year. You can get a copy of Lisa's book here: </i><a href="https://the-modernist.org/collections/mags-zines/products/post-war-public-art-by-lisa-brown-photobook" target="_blank">Post War Public Art</a><i>. </i><br /><br />
I have always loved to take photographs and it’s something that I would normally do when travelling so I had grand plans of the things I might see on the trip to Japan that I had arranged for April 2020. So when lockdown began and the world shrunk, I started exploring my local area on foot as I found it was the only time I had the opportunity for any real peace and to escape household jobs that were otherwise difficult to ignore. <br /> <br />
A friend in Manchester suggested we started photographing the empty streets of our respective localities and sharing them on Instagram. But after this mini project came to an end, I found that I missed the distraction that it had provided so I continued my local explorations, and being interested in mid-century architecture I began to walk further in order to seek it out. <br /> <br />
Over time I realised I had built up quite a collection of photographs, not just of the buildings themselves but of the public art that often accompanies architecture from this period. <br /> <br />
I like how accessible public art is and its egalitarian properties. Art works in a gallery are by their nature, even in normal times, restricted. The viewer has to make a conscious effort to see the art. And even the most dedicated art lover has been denied access to galleries for much of the last 18 months. <br /> <br />
The post war period witnessed an abundance of public art; perhaps it was the influence of the Festival of Britain or just a more general appetite from the architectural community for the commissioning of public works to compliment the built environment. <br /><div class="separator" style="clear: both;"><a href="https://1.bp.blogspot.com/-lJj4K6WGMic/YSC_qC0VGOI/AAAAAAAADZ8/IrXJwMUo3sY_i_2FuCmKlxej2WK9EYTuQCLcBGAsYHQ/s2048/Rombold%2Bthe%2BGiant%252C%2BKeighley%2Bby%2BJohn%2BBridgeman.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://1.bp.blogspot.com/-lJj4K6WGMic/YSC_qC0VGOI/AAAAAAAADZ8/IrXJwMUo3sY_i_2FuCmKlxej2WK9EYTuQCLcBGAsYHQ/s320/Rombold%2Bthe%2BGiant%252C%2BKeighley%2Bby%2BJohn%2BBridgeman.jpg" /></a></div><span style="font-size: x-small;"><div style="text-align: center;">Rombold the Giant, Keighley by John Bridgeman</div></span><div style="text-align: center;"><br /></div><div>Probably my first encounter with a piece of public art was the sculpture of Rombold the Giant in Keighley. He has stood proud in the town centre since 1968 and I have fond memories of him from shopping with my mum as a small child; always fascinated by the story of the giant and his boulder tossing antics. <br /> <br />
The easing of lockdown meant I was able to travel further afield and add extra pieces to my impromptu collection. So, the Apollo Pavilion in Peterlee and The Three Tuns mural from Coventry joined pieces from Yorkshire. <br /><div class="separator" style="clear: both;"><a href="https://1.bp.blogspot.com/-V7xN7vsg2gc/YSDAhIWeGFI/AAAAAAAADaE/VhHJx4vQc7IS5AOT1IFT2CursOqggrBqQCLcBGAsYHQ/s640/Apolo%2BPavillion%2Bat%2BPeterlee%2Bby%2BVictor%2BPasmore.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="640" data-original-width="512" height="320" src="https://1.bp.blogspot.com/-V7xN7vsg2gc/YSDAhIWeGFI/AAAAAAAADaE/VhHJx4vQc7IS5AOT1IFT2CursOqggrBqQCLcBGAsYHQ/s320/Apolo%2BPavillion%2Bat%2BPeterlee%2Bby%2BVictor%2BPasmore.jpg" /></a></div><div style="text-align: center;"><span style="font-size: x-small;">Apollo Pavillion at Peterlee by Victor Pasmore</span></div><div class="separator" style="clear: both;"><a href="https://1.bp.blogspot.com/-osLPzxdBG6o/YSDAr4q7QQI/AAAAAAAADaI/SooOMv8pRp0ZHx6d5G92HvGxy9xHHGDtgCLcBGAsYHQ/s2048/Three%2BTuns%2BMural%252C%2BCoventry%2Bby%2BWilliam%2BMitchell.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2048" data-original-width="1536" height="320" src="https://1.bp.blogspot.com/-osLPzxdBG6o/YSDAr4q7QQI/AAAAAAAADaI/SooOMv8pRp0ZHx6d5G92HvGxy9xHHGDtgCLcBGAsYHQ/s320/Three%2BTuns%2BMural%252C%2BCoventry%2Bby%2BWilliam%2BMitchell.jpg" /></a></div><span style="font-size: x-small;"><div style="text-align: center;">Three Tuns Mural, Coventry by William Mitchell</div></span></div><div style="text-align: center;"><br /></div><div>After many months of pottering and helping put together a photographic collection with Bill Ayres and Simon James Hadfield, I had the idea of collating my images in a similar way. <br /> <br />
So, thanks to The Modernist Society, Rombold is accompanied on a perambulation by 18 other works; ordered from nearest to farthest from my home in North Leeds, in a little photo-book.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mYJ7dGvx_Ks/YSDCHVBpv5I/AAAAAAAADac/D2rATKGxS5wd84lQNdTKNjuWsXbWv5mOQCLcBGAsYHQ/s2048/Lisa%2527s%2BBook%2B-%2BPost%2BWar%2BPublic%2BArt%2BCover.jpg" style="display: inline; margin-left: 1em; margin-right: 1em; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2048" data-original-width="2048" src="https://1.bp.blogspot.com/-mYJ7dGvx_Ks/YSDCHVBpv5I/AAAAAAAADac/D2rATKGxS5wd84lQNdTKNjuWsXbWv5mOQCLcBGAsYHQ/s320/Lisa%2527s%2BBook%2B-%2BPost%2BWar%2BPublic%2BArt%2BCover.jpg" width="320" /></a></div><div></div></div>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-90738398808860778112021-08-07T08:00:00.005+01:002021-08-08T12:58:03.881+01:00How to (de)Construct a Place Setting in Three Easy Steps<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-w5tHJkIH1gU/TzeniC29gXI/AAAAAAAABAU/YgTNt-XZ-Fc/s1600/Place%2Bsetting%2Bdiagram.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="137" src="http://3.bp.blogspot.com/-w5tHJkIH1gU/TzeniC29gXI/AAAAAAAABAU/YgTNt-XZ-Fc/s200/Place%2Bsetting%2Bdiagram.jpg" width="200" /></a></div><br />
<b>1 - Define a place setting.</b><br />
<br />
What is a ‘place setting’: the setting of a place, to set a place? The opposite of ‘to set’: un-set…unsettle. A place for whom/what? A set placing. A place for a subject. A setting of a scene. To set the scene for the subject of the place.<br />
<br />
<blockquote><b>1</b> <b>place </b>/plays/ n 1a physical environment; a space 1b physical surroundings; atmosphere 2a an indefinite region or expanse; an area…4 a particular part of a surface or body; a spot…5b an important or valued position…7a a proper or designated niche…8a an available seat…8c PLACE SETTING<br />
<br /><b>
2</b> <b>place </b>vt 1 to distribute in an orderly manner; arrange 2a to put in, direct to, or assign to a particular place…2c to put in a particular state 3 to appoint to a position…5a to assign to a position in a series or category; rank 7 to put, lay…<br />
<br /><b>
3</b> <b>setting </b>/’seting/ n 1 the manner, position, or direction in which something (e.g. a dial) is set 3a the background, surroundings…5 PLACE SETTING</blockquote><br />
<br />
<b>2 - Ascertain the limits of the place setting.</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-5VIndqdsOKM/Tzen-kzqn0I/AAAAAAAABAg/McJItzpvas0/s1600/place%2Bsetting%2B2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="131" src="http://2.bp.blogspot.com/-5VIndqdsOKM/Tzen-kzqn0I/AAAAAAAABAg/McJItzpvas0/s200/place%2Bsetting%2B2.jpg" width="197" /></a></div><br />
“How is it possible to determine, in such a situation, what truly belongs to the inside and what does not?" (Derrida 1987: 138).<br />
The place setting exists as a singularity in space and time: on the spatial plane it exists on a surface without clearly delineated edges, and temporally it is unclear at which point the place setting becomes itself, or when it is no longer that of which it is known in regards to assembly/disassembly.<br />
<br />
Somebody puts together the place setting. It could be the diner, it could be the cook, it could be the silver service waitress/waiter . . . it could be you. A number of possible people construct it. The placemat, cutlery, glasses, plates are laid out by following certain cultural conventions. The dining paraphernalia is placed on a surface, a table. Some of the items may rest on the placemat, if there is one, and some will not, for instance the glasses do not, although they too can sometimes sit on their own object, a coaster.<br />
<br />
Where is the edge of the place setting? If you were to draw around the limits of the place setting you would quite probably draw around almost every single separate item that makes it up.<br />
<br />
The margins are unclear. It appears that the outside of the place setting is also contained within the inside of it, in the fluid space between the items. The outside pours into the inside. What belongs to the place setting and what does not? Does the tablecloth belong to the place setting: the tablecloth could be removed and the place setting could still be considered to exist. What of the table? What could be utilised in the place of a table that would still enable a place setting to be called such: a kitchen counter, a TV dinner tray, a wooden packing crate. How many individual items that make up the place setting need to be removed for it to not be a place setting? Everything but a knife and fork . . . maybe . . .<br />
<br />
How significant is the setting of the place setting: could one assemble a place setting on the pavement of a busy street, or in an art gallery? The context of the place setting might mean that a diner could not be present at the scene of the place setting. If it were physically impossible (or dangerous) for a diner to be in attendance, is it still a place setting: could a place setting be set on an airport runway and it still considered to be a place setting. It would certainly be recognisable as one, but how much does the context effect the place setting, inasmuch as it is part of the dining event. On a spectrum of contexts it is difficult to ascertain an absolutely clear point at which a place setting would not be considered to be such.<br />
<br />
The place setting, in terms of its existence, comes into and goes out of being surreptitiously. At some point in its manifestation it becomes what is recognised as a ‘place setting’, but its materialisation is gradual and rather furtive. It is carefully assembled piece by piece, comes to rest for a period of time, then is gradually dismantled by the diner and/or an-other: disarranging the original construction. If the place setting was only considered to be a place setting at its most complete (prior to the diner’s arrival, prior to their unpicking of it), its disassembly could be seen as a destructive act. The diner destroys the place setting, like one might destroy a work of art. This could be considered an act of violence.<br />
<br />
Considering the place setting to be a ‘place setting’ only when it is whole and complete, allows for it to be described as such even in the absence of a diner. If the place setting is set, but the diner never arrives, the place setting is still a place setting, even if its origins are not so sure. However, at some point, the items making up the place setting will all be removed.<br />
<br />
If the place setting is seen as something more nebulous, uncertain in terms of when it begins and ends in time, the diner’s re-arranging of the items that form it, and the removal of those items during the dining process, could also be included in what is recognised as the place setting. But, we still have the issue of a beginning and end, though. Does the place setting begin when the placemat is laid or, maybe, when the first piece of cutlery is set down. Does it end when the final item is removed?<br />
<br />
The place setting is a fragile thing.<br />
<br />
<br />
<b>3 - Ensure the place setting is ready for the diner's arrival.</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-nK_NKM7lImI/TzeoPg90MfI/AAAAAAAABAs/DnTviuGbVsE/s1600/place%2Bsetting%2B1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-nK_NKM7lImI/TzeoPg90MfI/AAAAAAAABAs/DnTviuGbVsE/s200/place%2Bsetting%2B1.jpg" width="200" /></a></div><br />
The place setting awaits a subject. The place setting is calling a subject. The diner is hailed by the place setting, “interpellated” in the Althusserian sense, whether the place setting has their name on it or not, as it might at a formal dinner when written on a card. The place setting has a subject in mind, whether it is a named subject or a generalised other. The type of dinner will dictate, to a large degree, certain characteristics in the diner: it may dictate their class, wealth or social status; their associations with other diners (relative, friend, business associate); their membership of a certain group. All these qualities define the event, the place setting, and the subject. Therefore the place setting holds certain notions about the subject before they arrive at the dining table.<br />
<br />
At a formal dinner the place setting exists for the sole purpose of a subject to be sat at it, and for that subject to utilise it within a given framework. It is an object requiring a subject to fulfil its purpose. The place setting anticipates an <i>always already</i> subject. In this sense the subject comes before the place setting, they exist before the place is set, as a knowable, expected attendee of the dinner. But, does the subject exist as a diner before the place setting is set? If the place setting is a one-time-only event, it is possible the subject only exists as a diner at the point they sit down at the table. If this is the case, then the place setting comes before the dining subject.<br />
<br />
It appears that the tendrils of the place setting spread temporally in both directions. It forms a nexus which connect a past and future subject in the singularity of an event. This event, operating around the hub of the place setting, is also contingent in the changing of the subject. The subject will have been altered by the event and will not be the same subject that sat at the place setting at the beginning of dinner. Conversations might have taken place, dialogue exchanged, the subject’s psyche could be transformed, however minutely.<br />
<br />
The place setting, as an assembly, is also part of the greater assembly which is the dining event. This could be considered to be like the Deleuzo-Guattarian “assemblage” which comes together and then disassembles. If it were considered in these terms, we could not separate the subject from the event, the subject does not attend the event they are part of the event. The place setting and the diner would be intrinsically linked, because they make up the processual dining experience.<br />
<br />
The place setting retains the history of the event. Before the final items are removed, what remains of the place setting contains a trace of the event that has just taken place. The place setting is a recording device for the event as it is for the particular individual subject as diner. How the place setting is left at the point the diner leaves the table is an audit trail for the actions of the subject during their dinner party. If the recording could be played back the subject’s steps could be retraced. The used place setting, at the moment the diner leaves and prior to the point it is finally removed by the attending staff, alludes to an absence. The dining subject leaves their signature (their autobiography), in the rumpled silk placemat, in the not-quite-finished glass of vintage port, in the highly-polished unused silver dessert spoon. Disorder replaces order. But this disorder is telling. It speaks of a past, of an attendance.<br />
<br />
Each individual diner will leave their history behind on the table: an archive of the event left behind in their wake. The dining subject has left their mark. Their absence leaves a sign of a past presence. ‘Elvis has left the building’ but he still exists in the discarded crumpled gig programme and trampled cigarette butts of the deserted dance hall.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-TpgQ9D5wBeg/TzeoWxxEVJI/AAAAAAAABA4/uhnDPsTFzEc/s1600/Judy%2BChicago%2Bplace%2Bsetting.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="133" src="http://1.bp.blogspot.com/-TpgQ9D5wBeg/TzeoWxxEVJI/AAAAAAAABA4/uhnDPsTFzEc/s200/Judy%2BChicago%2Bplace%2Bsetting.jpg" width="200" /></a></div><i>The Dinner Party</i> by Judy Chicago 1974-79, the Brooklyn Museum<br />
<br />
<b>References:</b><br />
Derrida, Jacques. 1987. <i>The Truth in Painting</i>. Trans. by Geoff Bennington and Ian McLeod (Chicago and London: The University of Chicago Press).Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-60483997366457976712021-08-01T09:44:00.000+01:002021-08-01T09:44:21.135+01:00Psychogeography News - August 2021<p><span style="font-family: times;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><a href="https://1.bp.blogspot.com/-Sx8QeRvdmNg/YQVDBQfOJsI/AAAAAAAADY0/mIZy_Nm88SoRRmyvS6_K9Nu1bky2qc8yACLcBGAsYHQ/s701/Psychogeography%2BNews%2B8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="701" data-original-width="699" height="320" src="https://1.bp.blogspot.com/-Sx8QeRvdmNg/YQVDBQfOJsI/AAAAAAAADY0/mIZy_Nm88SoRRmyvS6_K9Nu1bky2qc8yACLcBGAsYHQ/s320/Psychogeography%2BNews%2B8.jpg" width="319" /></a></span></div><i style="font-family: times;"><span style="font-size: medium;">Hello Folks. Here is
my take on psychogeography, and related, news for August. I hope there is something
of interest for everyone. Tina</span></i><p></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: times; font-size: medium;"><b><i><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Psychogeography
and Walking</span></i></b><b><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></span></p>
<p class="MsoNormal"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><span style="font-family: times; font-size: medium;">This <i>The Guardian</i>
article is about an art trail along the coast of Suffolk and Essex (you do need
an account to access it though: <a href="https://www.theguardian.com/travel/2021/jul/07/i-will-walk-500-miles-art-trail-suffolk-and-essex-coasts">‘I
will walk 500 miles…’</a>. And a final reminder of 4WCOP – The Fourth World
Congress of Psychogeography – which begins on September 3<sup>rd</sup>: click <a href="https://www.4wcop.org/">here</a> for all the details (and maybe I will see
you there).<o:p></o:p></span></span></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: times; font-size: medium;"><b><i><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Cartography</span></i></b><b><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></span></p>
<p class="MsoNormal"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><span style="font-family: times; font-size: medium;">Here is an academic research centre (CAMRI) that takes a look
at the artist <a href="https://camri.ac.uk/blog/2021/07/10/writing-drawing-and-discussion-doug-specht-on-cezanne-as-cartographer/">Cezanne
as cartographer</a>, providing a precis of <i>Geographies
of the Imagination</i> by Doug Specht. This <i>Wallpaper</i>
article is about the new addition to Blue Crow Media’s Modernist maps: a <a href="https://www.wallpaper.com/architecture/modernist-architecture-map-prague-czech-republic">Modern
Map of Prague</a>. I would highly recommend their maps. I have the <a href="https://bluecrowmedia.com/products/london-maps-set">Brutalist London Map</a>
(please note, I am not getting paid to advertise this).<o:p></o:p></span></span></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: times; font-size: medium;"><b><i><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Cities</span></i></b><b><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></span></p>
<p class="MsoNormal"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><span style="font-family: times; font-size: medium;"><a href="https://theconversation.com/heart-health-design-cities-differently-and-it-can-help-us-live-longer-162038">Heart
Health</a> is a <i>The Conversation</i> article
that takes a look at cities in regard to longevity. And this <i><a href="https://www-newyorker-com.cdn.ampproject.org/v/s/www.newyorker.com/magazine/2018/05/07/sketching-the-mta-with-a-subway-archeologist/amp?amp_gsa=1&amp_js_v=a6&usqp=mq331AQKKAFQArABIIACAw%3D%3D#amp_tf=From%20%251%24s&aoh=16277249849290&csi=1&referrer=https%3A%2F%2Fwww.google.com&ampshare=https%3A%2F%2Fwww.newyorker.com%2Fmagazine%2F2018%2F05%2F07%2Fsketching-the-mta-with-a-subway-archeologist">New
Yorker</a></i> article I found after watching a BBC programme about a really
interesting artist (Philip Ashforth Coppola) in New York who is trying to
preserve the memory of the original subway art-based architecture of the
network before it gets destroyed (I am unable to find the BBC link online, but I
saw it on the BBC news channel on 31<sup>st</sup> July). And, this <i>The Guardian</i> article is about a hidden London
tram line which has just been reopened (as a museum) to the public at <a href="https://www.theguardian.com/uk-news/2021/jul/04/hidden-london-tram-station-opens-to-public-for-first-time-in-70-years-kingsway">Kingsway</a>.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: times; font-size: medium;"><b><i><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Travel</span></i></b><b><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></span></p>
<p class="MsoNormal"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><span style="font-family: times; font-size: medium;">In <i>The Conversation</i>
you can find an article on some unconventional ways to <a href="https://theconversation.com/three-unconventional-forms-of-travel-you-should-try-if-you-cant-go-abroad-this-summer-163776">travel</a>
if you can’t go away this summer. It includes micro-domestic travel, virtual
reality and (believe it or not) psychogeography!<o:p></o:p></span></span></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;"><span style="font-family: times; font-size: medium;"><b><i><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Architecture</span></i></b><b><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></span></p>
<span style="background: white; color: #222222; line-height: 107%;"><span style="font-family: times; font-size: medium;">And finally, an article in <i>The Guardian</i> about architecture and “modernist myopia”. This <a href="https://www.theguardian.com/commentisfree/2021/jul/23/modernist-civic-historic-buildings-liverpool-waterfront-shangai">article</a>
includes discussions on Liverpool, Glasgow, London and Edinburgh.</span></span>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-28733182132229640652021-07-03T12:22:00.004+01:002021-07-03T12:22:38.676+01:00Psychogeography News - July 2021<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-RuZb1DOggmE/YOBIU_YSy6I/AAAAAAAADX4/kJyhkw1ih6k9CPNHnXHdTUR0LQmEmvO2QCLcBGAsYHQ/s701/Psychogeography%2BNews%2B3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="701" data-original-width="699" height="320" src="https://1.bp.blogspot.com/-RuZb1DOggmE/YOBIU_YSy6I/AAAAAAAADX4/kJyhkw1ih6k9CPNHnXHdTUR0LQmEmvO2QCLcBGAsYHQ/s320/Psychogeography%2BNews%2B3.jpg" /></a></div><i><p><i>Hello psychogeography
lovers. I came across a lot of related news in the last month, so will continue
to post the links with a brief description under a respective heading. I hope
you find the newsletter interesting. More in August…</i></p></i><p></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Psychogeography
and Walking</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">It seems that Nick Cave (yes, he of Bad Seeds fame) has
unintentionally been doing some psychogeography. You can read about him photographing
<a href="https://www.theguardian.com/music/gallery/2021/jun/08/nick-cave-photobook-melancholy-little-book-of-lost-gloves">lost
gloves</a> on his walks in <i style="mso-bidi-font-style: normal;">The Guardian</i>.
Here’s another <i style="mso-bidi-font-style: normal;">The Guardian </i>articles
on walking the <a href="https://www.theguardian.com/travel/2021/jun/09/peak-district-walking-the-limestone-way-trail-ancient-tracks">Limestone
Way</a> of the Peak District. And, here, another piece of accidental
psychogeography which includes interesting photos of <a href="https://www.bbc.co.uk/news/in-pictures-57349499">bricked up windows</a>
in London, from the BBC website. Whereas this Youtuber is doing some ‘proper’
psychogeography by walking the most direct route on his <a href="https://www.theguardian.com/technology/2021/jun/11/straight-story-the-youtuber-taking-a-direct-route-to-success">“straight
line mission”</a> across Scotland (from <i style="mso-bidi-font-style: normal;">The
Guardian</i>). The final two articles under this section look at ‘well-being’
and walking: one on <a href="https://www.theguardian.com/travel/2021/jun/12/walking-with-friends-marcel-theroux-lifes-simplest-greatest-pleasures">walking
with friends</a> in <i style="mso-bidi-font-style: normal;">The Guardian</i>, and
the other is research on <a href="https://theconversation.com/hiking-workouts-arent-just-good-for-your-body-theyre-good-for-your-mind-too-162312">mental
health and hiking</a> from <i style="mso-bidi-font-style: normal;">The
Conversation</i>.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Architecture</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Yanko Design</span></i><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"> has an
interesting article which includes some lovely futuristic images of imagined
spaces looking at <a href="https://www.yankodesign.com/2021/06/09/green-skyscrapers-that-add-a-touch-of-nature-sustainability-to-modern-architecture/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+yankodesign+%28Yanko+Design+-+Form+Beyond+Function%29">green
skyscrapers</a>, while <i style="mso-bidi-font-style: normal;">The Spaces</i> has
an <a href="https://thespaces.com/explore-modern-venice-with-this-alternative-architecture-guide/">alternative
architectural guide to Venice</a>. Here is a guide to the 2021 <a href="https://www.wallpaper.com/architecture/London-festival-of-architecture-2021-top-picks-uk">London
Festival of Architecture</a> in <i style="mso-bidi-font-style: normal;">The
Wallpaper</i> and I am including this really useful link to all things <a href="https://www.charlesjencks.com/">Charles Jencks</a>, as it has loads of
useful resources on his work. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">Cities</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">The
Conversation</span></i><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"> has an article on <a href="https://theconversation.com/the-queer-city-how-to-design-more-inclusive-public-space-161088">the
queer city and inclusivity</a> and <i style="mso-bidi-font-style: normal;">The
Science Museum Group Journal</i> has a brilliant journal article on <a href="http://journal.sciencemuseum.ac.uk/browse/issue-15/spaces-and-geographies/?utm_source=Email&utm_medium=Newsletter&utm_campaign=GRN%3AEjournalNewsletter%2C26.05.21&utm_term=Wordfly&utm_content=http%3A%2F%2Fjournal.sciencemuseum.ac.uk%2Fbrowse%2Fissue-15_version_A&fbclid=IwAR3jUgFNsUJvBl6Wo2YTQQSXJlg0n4WLAAEBZVndj6uucGmZejJgmoqZi0o">science
and the city</a>, which seems to be open access. Here’s a <i style="mso-bidi-font-style: normal;">The Guardian</i> article about the <a href="https://www.theguardian.com/uk-news/2021/jun/16/oxford-circus-to-be-turned-into-pedestrian-piazzas-this-year">pedestrianisation
of Oxford Circus</a> in London. And, on a more light-hearted note, here is a
link to a novel entitled <i style="mso-bidi-font-style: normal;"><a href="https://www.waterstones.com/book/the-cat-and-the-city/nick-bradley/9781786499912">The
Cat and the City</a></i> by Nick Bradley (I am a big fan of both). Finally, under
cities, this super 20 min film called ‘<a href="https://aeon.co/videos/the-city-as-an-emergent-life-form-with-architecture-as-the-skeleton-and-roads-as-veins">Organism</a>’
by Hilary Harris (1975) from the <i style="mso-bidi-font-style: normal;">Aeon</i>
website, shows “the city as an emergent form, with architecture as the skeleton
and roads as the veins”.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">The Weird or
Random</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">On the more random side of all things spatial: <a href="https://www.theguardian.com/lifeandstyle/2021/may/19/the-sewage-works-reminded-us-of-sicily-bleak-local-spaces-readers-learned-to-love">bleak
spaces that you come to love</a> (this <i style="mso-bidi-font-style: normal;">The
Guardian</i> article requires you to already to be a signed up member, although
it is free). And, I will finish this blog on a bit of bonkerity: this chappy
accidentally <a href="https://theconversation.com/a-belgian-farmer-moved-a-rock-and-accidentally-annexed-france-the-weird-and-wonderful-history-of-man-made-borders-160342">annexed
France</a> by moving some rock (from <i style="mso-bidi-font-style: normal;">The
Conversation</i>).<o:p></o:p></span></p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-79295685080195234752021-06-02T09:26:00.001+01:002021-06-02T09:26:26.526+01:00Psychogeography News - June 2021<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-RZFHt_S2bbQ/YLc6YBV0X3I/AAAAAAAADWk/nVVc0ShoUoQjJM5pZnuVBl4NXFwwbxfjgCLcBGAsYHQ/s697/Psychogeography%2BNews%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="697" data-original-width="697" height="320" src="https://1.bp.blogspot.com/-RZFHt_S2bbQ/YLc6YBV0X3I/AAAAAAAADWk/nVVc0ShoUoQjJM5pZnuVBl4NXFwwbxfjgCLcBGAsYHQ/s320/Psychogeography%2BNews%2B2.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p class="MsoNormal"><i>Here’s June’s
psychogeography-related news. I hope there is something of interest for you
here. Thanks for reading.<o:p></o:p></i></p><div class="separator" style="clear: both;">
<p class="MsoNormal"><b>Psychogeography</b><o:p></o:p></p>
<p class="MsoNormal">The Fourth World Congress of Psychogeography is convening
again in September, please <a href="https://www.4wcop.org/2021---playing-out.html">click</a> here for the up-to-date
info (I apologise for missing the call date). Here’s a 2020 article in <i><a href="https://fadmagazine.com/2020/11/20/gerasimos-floratos-psychogeography/">FAD
Magazine</a></i> about the Greek-American artist Gerasimos Floratos and his
psychogeographical renderings exhibited at that time. And this <i>BBC</i> article looks at the art of ‘<a href="https://www.bbc.co.uk/news/uk-england-london-56281464">drain spotting</a>’.<o:p></o:p></p>
<p class="MsoNormal"><b>Cartography</b><o:p></o:p></p>
<p class="MsoNormal">This super online resource, from Stanford Libraries in the
US, is about <a href="https://storymaps.arcgis.com/stories/8851fafab37a4674b7a75b5bbf000280">working
with historical maps online</a>. It includes geo-referencing, overlaying and
exporting and comes in the form of a tutorial.<o:p></o:p></p>
<p class="MsoNormal"><b>Architecture</b><o:p></o:p></p>
<p class="MsoNormal">The Biennale Architecttura 2021 is now on. Here’s <a href="https://www.labiennale.org/en/architecture/2021/17th-international-architecture-exhibition">the
official website</a>. It’s on till November 2021 in Venice. I appreciate we can’t
necessarily travel, but there looks like lots of useful links on there, and
there may be online talks. This article in <i>ArchDaily</i>
looks at the threat of demolition in regard to the brutalist <a href="https://www.archdaily.com/961330/nakagin-capsule-tower-could-face-demolition">Nagakin
Capsule Tower</a> in Tokyo. And, this website looks at <a href="https://www.yankodesign.com/2021/05/26/3d-printed-architecture-that-show-why-this-trend-is-the-future-of-modern-architecture-part-2/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+yankodesign+%28Yanko+Design+-+Form+Beyond+Function%29">3D
printed architecture</a>.<o:p></o:p></p>
<p class="MsoNormal"><b>Other</b><o:p></o:p></p>
<p class="MsoNormal">This is an interesting article in <i><a href="https://theconversation.com/a-belgian-farmer-moved-a-rock-and-accidentally-annexed-france-the-weird-and-wonderful-history-of-man-made-borders-160342">The
Conversation</a></i> about a farmer who moved a rock and accidentally changed a
national border. And, finally, in <i><a href="https://www.theguardian.com/lifeandstyle/2021/may/19/the-sewage-works-reminded-us-of-sicily-bleak-local-spaces-readers-learned-to-love">The
Guardian</a></i> there is an article about some sewage works in Edinburgh: it's about exploring local spaces during lockdown.<o:p></o:p></p></div><p><br /></p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-68185858282440011852021-05-08T13:33:00.002+01:002021-05-08T13:33:46.576+01:00Psychogeography News - May 2021<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-AAsR-H-yxAU/YJZhV_5tijI/AAAAAAAADWU/IPhZ90HIickteiimXGCr8nTQb2PYvRR0ACLcBGAsYHQ/s707/Psychogeography%2BNews%2B1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="707" data-original-width="707" height="320" src="https://1.bp.blogspot.com/-AAsR-H-yxAU/YJZhV_5tijI/AAAAAAAADWU/IPhZ90HIickteiimXGCr8nTQb2PYvRR0ACLcBGAsYHQ/s320/Psychogeography%2BNews%2B1.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><i>Hello Folks. I hope you are enjoying the resurrected news. This is May's selection. I've got quite a few this month, so I am going to do my best to categorise them. I apologise if it is a bit </i>The Guardian<i> heavy!</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><p class="MsoNormal"><b>Architecture<o:p></o:p></b></p>
<p class="MsoNormal">This month in architecture we have a discussion in <i>Domus</i> on <a href="https://www.domusweb.it/en/architecture/2021/03/10/----brutalismo-e-post-punk-un-rapporto-di-architettura-e-ribellione-.html">Brutalism
and post-punk</a>, a connection I wouldn’t have made myself, even though I am a
fan of both. There is some more news on Modernist architecture in <i>The Guardian</i> on the post-war architecture
of <a href="https://www.theguardian.com/artanddesign/2021/may/02/last-ditch-bid-to-save-derbys-postwar-modernist-gem-from-bulldozers">Derby’s
Assembly Rooms</a> (and the hope to save them from the bulldozers), and another
general discussion on <a href="https://www.theguardian.com/lifeandstyle/2021/apr/23/prince-charles-model-village-architecture-give-me-brutalism-any-day">Brutalist
architecture</a> which includes useful links to other sources.<o:p></o:p></p>
<p class="MsoNormal"><b>Images and Films<o:p></o:p></b></p>
<p class="MsoNormal"><i>The Guardian</i> has an
article on somebody who (probably doesn’t even realise he is a
psychogeographer) and photographs <a href="https://www.bbc.co.uk/news/in-pictures-56675382">social distancing signs</a>.
This artists fills potholes and manhole covers in <a href="https://www.theguardian.com/artanddesign/gallery/2021/may/01/the-artist-who-fills-potholes-with-mosaics-in-pictures">beautiful
mosaics</a> and this photographer takes images of <a href="https://www.bbc.co.uk/news/in-pictures-56253450">America by streetlight</a>.
The last one in this section is a super 3 min film of an <a href="https://aeon.co/videos/time-dilates-and-people-flow-in-and-out-of-each-other-in-a-hallucinatory-urban-commute">urban
commute</a> by Hiroshi Kondo.<o:p></o:p></p>
<p class="MsoNormal"><b>Walking and
Psychogeography<o:p></o:p></b></p>
<p class="MsoNormal">Here you can read about the <a href="https://www.theguardian.com/uk-news/2021/may/04/network-of-green-walks-proposed-along-routes-of-londons-forgotten-rivers">proposed
green walks in London</a>. This article will provide you with ten Great British
<a href="https://www.theguardian.com/travel/2021/apr/24/10-great-british-walking-trails-where-you-wont-see-another-soul">walking
trails</a> and here is an article about <a href="https://www.theguardian.com/commentisfree/2021/apr/26/if-getting-lost-is-the-best-way-to-explore-somewhere-new-im-playing-a-blinder">getting
lost</a> in a new place.<o:p></o:p></p>
<p class="MsoNormal"><b>Outside of the UK<o:p></o:p></b></p>
<p class="MsoNormal">And finally, an article on walking around <a href="https://www.theguardian.com/travel/2021/apr/21/walking-menorca-cami-de-cavalls-trail-my-lockdown-project">Menorca</a>
during lockdown and a very good article on the Swedish architect <a href="https://www.wallpaper.com/architecture/modernist-architect-sigurd-lewerentz-profile-sweden">Sigurd
Lerewentz</a> in <i>The Wallpaper</i>.</p></div><p></p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-68559612640357749142021-04-02T14:50:00.001+01:002021-04-02T14:50:44.409+01:00Psychogeography News - April 2021<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-tZL7fAGLsd8/YGcgfq8X-KI/AAAAAAAADVk/HIDSAGhAxKIvaRcu8-Ay4qpm4uclvOZOgCLcBGAsYHQ/s701/Psychogeography%2BNews.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="701" data-original-width="697" height="320" src="https://1.bp.blogspot.com/-tZL7fAGLsd8/YGcgfq8X-KI/AAAAAAAADVk/HIDSAGhAxKIvaRcu8-Ay4qpm4uclvOZOgCLcBGAsYHQ/s320/Psychogeography%2BNews.jpg" /></a></div><p></p><p class="MsoNormal"><i style="mso-bidi-font-style: normal;">After a hiatus of a
few years, I have decided to attempt to resurrect the psychogeography news for
this blog. I used to do it monthly, prior to that I did it via a mailing list.
Anyway, it seems like I stopped it in November 2016, so that’s over 4 years!
Anyway, I am going to give it another go. The news will contain anything
related to: walking, the city, urban space, landscape, public art,
architecture, space-related activism, and so on – so whatever loosely comes
under the rubric of ‘psychogeography’. I hope you find it interesting:<o:p></o:p></i></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">The Guardian</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">: A joyless trudge? No, thanks: why I am
utterly sick of ‘going for a walk’<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">An entertainingly cynical, article by a Canadian living in
the UK during lockdown. It covers anything from dodgy footwear to Margaret
Thatcher. Click <a href="https://www.theguardian.com/lifeandstyle/2021/feb/27/joyless-trudge-no-thanks-why-sick-of-going-for-a-walk">here</a>
for full article.</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">The Claude Glass Revolutionized the Way People
Saw Landscape<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="background: white; color: #222222; mso-bidi-font-family: Arial;">This is a really interesting academic, short, article about
how a little mirror, named after the landscape artist Claude Lorrain, changed
the way people viewed the landscape. For those Situationists amongst you,
Lorrain was of interest to them due to his depictions of ruins (“the charms of
the ruins”). The Situationists had a problem with the nostalgia engendered by
images of ruins (and ruins themselves) and actually used one of Lorrain’s
paintings in one of their <a href="http://particulations.blogspot.com/2020/06/axis-of-exploration-and-failure-in.html">maps</a>.
Click <a href="https://daily.jstor.org/the-claude-glass-revolutionized-the-way-people-saw-landscapes/">here</a>
for the article.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #222222; mso-bidi-font-family: Arial;">The Guardian: </span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; mso-bidi-font-family: Arial;">Is that a unicorn? No it’s a teenager taking a hike in the great
outdoors.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="color: #222222; mso-bidi-font-family: Arial;">This
is about the Ramblers attempts to get young people out and about (and bumbling)
in Britain’s wide open spaces. Includes some research and stats, for those who
are interested in that kind of thing. Full article <a href="https://www.theguardian.com/lifeandstyle/2021/mar/07/is-that-a-unicorn-no-its-a-teenager-taking-a-hike-in-the-great-outdoors">here</a>.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; mso-bidi-font-family: Arial;">Revisiting the Concrete Architecture of Belgian Icon Juliaan
Lampens<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="color: #222222; mso-bidi-font-family: Arial;">I’m a
big fan of brutalist architecture (and even included a large section on the
work of Chamberlin, Powell and Bon in my <a href="http://etheses.whiterose.ac.uk/6916/">thesis</a>). I’m not an expert,
though, and hadn’t heard of this chappy. An interesting article, with some nice
images, <a href="https://www.wallpaper.com/architecture/juliaan-lampens-homage-concrete-architecture-belgium">here</a>
in <i style="mso-bidi-font-style: normal;">The Wallpaper</i>.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; mso-bidi-font-family: Arial;">French Artist Unveils New Optical Illusion Installation in Italy<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="color: #222222; mso-bidi-font-family: Arial;">This
uncanny installation appears on the façade of the Pallazo Strozzi in Florence.
It’s really fabulous and must be super to see in person. It reminds me of the
opening to Civilization and its Discontents where Freud talks about how memory,
and the unconscious, has the effect of forgetting. Freud uses a beautiful analogy
of the ancient city of Rome to help him explain how the unconscious works (click
<a href="http://particulations.blogspot.com/2012/09/spaceplace-culture-and-time-part-2.html">here</a>
if you’d like to read my take on that). Click <a href="https://www.rediff.com/news/report/pix-artist-unveils-new-optical-illusion-in-italy/20210323.htm">here</a>
for some images of the installation.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; mso-bidi-font-family: Arial;">Building a Feminist City<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="color: #222222; mso-bidi-font-family: Arial;">This
editorial, discussing the current focus on women’s safety in public space following
Sarah Everard’s death, takes its starting point as Haussmann’s Paris (very
Situationist). Click <a href="https://www.theguardian.com/commentisfree/2021/mar/16/the-guardian-view-on-urban-insecurity-build-a-feminist-city">here</a>
to read the article in <i style="mso-bidi-font-style: normal;">The Guardian</i>.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><b style="mso-bidi-font-weight: normal;"><span style="color: #222222; mso-bidi-font-family: Arial;">Mouse Hole Update<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="color: #222222; mso-bidi-font-family: Arial;">A
Really cute one to finish on. This from a blog entitled ‘Walks Between the
Commons: American mom living in London’. It’s about a little mouse hole
installation that local people decorate and offer gifts up to the pretend mice
that live there, such as Christmas cards. It’s, basically, a sweet little bit
of guerrilla urban creativity. Click here for the <a href="https://walksbetweenthecommons.com/2020/12/21/mouse-hole-update/">images</a>.</span><o:p></o:p></p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-57959308686842072942021-03-06T09:36:00.001+00:002021-03-06T17:13:08.491+00:00Online Cultural Theory Lectures by Doctor Hat<div class="separator" style="clear: both; text-align: center;">
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<a href="https://1.bp.blogspot.com/-lmngqrKcQi0/VzwzpMNkFoI/AAAAAAAACgE/Skq0Tb2oZt4Js36bZ4-X7dPhpchpWJ7ggCLcB/s1600/Hat%2Band%2BBust.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-lmngqrKcQi0/VzwzpMNkFoI/AAAAAAAACgE/Skq0Tb2oZt4Js36bZ4-X7dPhpchpWJ7ggCLcB/s200/Hat%2Band%2BBust.jpg" width="167" /></a></div>
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Below is a series of lectures available on YouTube which all took place in the famous Freud Disco Study in 2016. The lectures are predominantly of a cultural theory and psychogeography nature and cover areas such as: subjectivity, semiology, psychoanalysis, cartography, urban walking, ideology, etc. You can view an introduction <a href="https://www.youtube.com/watch?v=rerXFRFbsXM" target="_blank">here</a> or click on the links below to take you to more information and to the online lecture itself:<br />
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<a href="http://particulations.blogspot.co.uk/2016/05/online-cultural-theory-lectures-by.html#intro">Introduction to the Lecture Series</a><br />
<a href="http://particulations.blogspot.co.uk/2016/05/online-cultural-theory-lectures-by.html#interpellate">Are You Interpellated?</a><br />
<a href="http://particulations.blogspot.co.uk/2016/05/online-cultural-theory-lectures-by.html#myth">What is Myth?</a><br />
<a href="http://particulations.blogspot.co.uk/2016/05/online-cultural-theory-lectures-by.html#map">What Does the Map Represent?</a><br />
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<a href="https://3.bp.blogspot.com/-0tH35_54Y0M/Vz12EfcH6jI/AAAAAAAACgU/sxWspXqQalQHwtff29Z-iyxLNFh67mkHQCLcB/s1600/Hat%2B1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://3.bp.blogspot.com/-0tH35_54Y0M/Vz12EfcH6jI/AAAAAAAACgU/sxWspXqQalQHwtff29Z-iyxLNFh67mkHQCLcB/s200/Hat%2B1.jpg" width="200" /></a></div>
<div id="intro">
<br />
<h3>
Introduction to the Lecture Series</h3>
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/rerXFRFbsXM" width="560"></iframe><br />
<div id="interpellate">
<h3><br />
Are You Interpellated?</h3>
</div>
<b>Abstract:</b> A lecture on the theory of ideology by Louis Althusser. By providing examples from popular culture and psychogeography, this lecture explores the concept of interpellation as discussed by Althusser in 'Ideology and the Ideological State Apparatuses'.<br />
<br />
<b>Audience:</b> Undergraduate students in the area of cultural studies, psychogeography, politics, psychology, media and philosophy. Anyone interested in: neo-Marxist approaches, how ideology operates on individuals and how subjectivity is socio-politically formed.<br />
<br />
<b>What’s covered:</b> ideology, interpellation, structuralism, the State, civic life, the family, subjectivity, psychogeography, popular culture (film).<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/E5Z20QEHbx8" width="560"></iframe>
<br />
<br />
<div id="myth">
<h3>
What is Myth?</h3>
<b>Abstract:</b> A lecture on Roland Barthes’ Mythologies. Concentrating on his essay ‘Myth Today’, this lecture introduces Barthes’ second-order semiological system and demonstrates how to carry out a semiological analysis.<br />
<br />
<b>Audience:</b> Undergraduate students in the area of cultural studies, literature, media and philosophy. Anyone interested in advertising, language or literature.<br />
<br />
<b>What’s covered: </b>semiotics, language, myth, ideology, popular culture, structuralism. <br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/wo6IZjQWWaA" width="560"></iframe><br />
<br />
<div id="map">
<h3>
What Does the Map Represent</h3>
<b>Abstract:</b> A lecture on mapping that critiques the modernist cartographic project. Themes explored are: the centred subject, inside/outside, map/territory and reality versus representation. This lecture compares the traditional analysis of maps with the psychoanalytical approach to dream analysis.<br />
<br />
<b>Audience:</b> Undergraduate students in the area of cultural studies, cartography, postmodern geography, history and psychoanalysis. Anyone interested in maps in general.<br />
<br />
<b>What’s covered:</b> cartography, ideology, dream analysis, representation, praxis, Sigmund Freud, Claudio Minca, world fairs.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/eE65oTUfoWU" width="560"></iframe></div>
</div>
</div>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-50547880027768459362020-12-28T09:47:00.001+00:002020-12-28T09:47:09.593+00:00The Alternative Conclusion to Walking Inside Out<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-21r_QTY-jYQ/X-mimQ_HdEI/AAAAAAAADUk/pDmG-RTbV30ul6TlZHO3r9QwoaCASBdkwCLcBGAsYHQ/s2048/Paperback%2BCopies.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1152" height="400" src="https://1.bp.blogspot.com/-21r_QTY-jYQ/X-mimQ_HdEI/AAAAAAAADUk/pDmG-RTbV30ul6TlZHO3r9QwoaCASBdkwCLcBGAsYHQ/w225-h400/Paperback%2BCopies.jpg" width="225" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">A few weeks ago I posted the <a href="http://particulations.blogspot.com/2020/10/conclusion-of-walking-inside-out.html" target="_blank">'official' version</a> of the conclusion of <i><a href="https://rowman.com/ISBN/9781783480852/Walking-Inside-Out-Contemporary-British-Psychogeography" target="_blank">Walking Inside Out: Contemporary British Psychogeography</a></i> (Rowman and Littlefield International 2015). However, if you would like a copy of the first version, the one that wasn't published, you can get a copy <a href="https://docs.google.com/document/d/1dziSymPC8pqmm5uhK9QR5S2IG3pA2lBgRwqHc23F9hA/edit?usp=sharing" target="_blank">here</a>. It deals specifically with the detractors of psychogeography. For those of you who don't want to download and read the full alternative conclusion, below is an extract:</div><div class="separator" style="clear: both; text-align: left;"><p class="MsoNormal" style="line-height: 150%; text-align: justify;"><b>Conclusion:
Psychogeography PLC</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify;">by Tina Richardson<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36pt;">So as to keep up-to-date with any current media-related
references to psychogeography, from time to time I type into my search engine
‘psychogeography’ followed by the month and year. In April 2014 I did the same
and an article in the <i>The Guardian</i>
paired psychogeography with the name of a Britpop singer: ‘Damon Albarn and the Heavy Seas Review – Rich
in Personal Psychogeography’ (2014). If Coverley thought ‘the game was up’
following Self’s articles in <i>The
Independent</i>, I wonder what this says about psychogeography today? Even
though it could be easy to be cynical about its current populist and mutable
use, this is not a particularly constructive approach to take towards
psychogeography. Rather than seeing it as a co-opting of the term, or an
aligning of some individuals to something ‘trendy’ that we feel they have
little connection to, we might see this as a compliment.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36pt;">In the introduction I mentioned
how Sinclair has often been placed in the position of defender of the field of
psychogeography. Psychogeography has plenty of detractors and, while this could
be seen as a negative reflection of it, I prefer to see it as promoting
valuable discussion. It also enables an academic engagement with critics who
are often outside academia. While I do not see myself as the current ‘union
rep’ of psychogeography, I would like to look at some of the comments by some critics
and work through the issues they have raised, since they are a reflection of what
individuals think about psychogeography in Britain today and are, therefore,
part of the project at hand.<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36pt;">Sinclair has expressed his own
concerns about the term, however these are often decontextualized by others into
snappy quotes and at times represent a specific strand of psychogeography that
he may be commenting on, or even another period of time in its development. For
instance his references to it being a ‘franchise’ in the <i>The Fortean Times</i> are referring to an aspect of 1990s
psychogeography: “There was a kind of strategy
to this rebranding, I was quite happy to run with it as a franchise, as a way
of talking about doing the things I'd always done and providing a useful
description that could be discussed in public. It became a bit of a monster on
the back of that”<span style="color: red;"> </span>(Pilkington <!--[if supportFields]><span style='color:black'><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Pilkington</Author><Year>2002</Year><RecNum>70</RecNum><record><rec-number>70</rec-number><foreign-keys><key
app="EN" db-id="fz92wrwx8wpxraesewvx2ptmv05fdtsrz2px"
timestamp="1408617538">70</key></foreign-keys><ref-type
name="Online
Multimedia">48</ref-type><contributors><authors><author>Pilkington,
Mark and Phil
Baker</author></authors></contributors><titles><title>City
Brain</title></titles><dates><year>2002</year><pub-dates><date>21
August
2014</date></pub-dates></dates><publisher>Fortean
Times</publisher><urls><related-urls><url>http://www.forteantimes.com/features/interviews/37/iain_sinclair.html</url></related-urls></urls></record></Cite></EndNote></span><![endif]--><!--[if supportFields]><span
style='color:black'><span style='mso-element:field-end'></span></span><![endif]-->and Baker 2002, 3). [cont...] <span style="text-indent: 36pt;">Please, click <a href="https://docs.google.com/document/d/1dziSymPC8pqmm5uhK9QR5S2IG3pA2lBgRwqHc23F9hA/edit?usp=sharing" target="_blank">here</a> for the full conclusion.</span></p></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><br /><p></p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-72768940589534658572020-12-04T16:37:00.000+00:002020-12-05T09:16:34.045+00:00Christmas Alone? Six Tips and a Brilliant Mnemonic!<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-uHnx2WUsWpw/WFgHkN5xFyI/AAAAAAAACwQ/kAlvrt8TpUMrqvYuflywB39wvQqt3qp3wCLcB/s1600/cat-wearing-christmas-hat-michelle-mcmahon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-uHnx2WUsWpw/WFgHkN5xFyI/AAAAAAAACwQ/kAlvrt8TpUMrqvYuflywB39wvQqt3qp3wCLcB/s320/cat-wearing-christmas-hat-michelle-mcmahon.jpg" width="239" /></a></div>
<br />
<h4><span style="color: #38761d;">Please note: I wrote/posted this back in 2016, but am reposting it as I think it may be even more pertinent this year!</span></h4><h4>
<b><span style="color: red;">Your Singleton Xmas - Help is at Hand</span></b></h4>
I<i> am becoming an expert at spending Xmas on my own, having spent 7 out of the last 11 alone, so I feel pretty well qualified to add my ideas to those available online. This blog is not directed at the elderly (there are many of those posts and articles already), but rather more to those who out of choice, because of 'family problems', geographical incompatibility or lack of opportunity spend Xmas on their own. It is also not about what to do to prevent yourself being alone, as this is also well covered elsewhere.</i><br />
<i><br /></i>
<i>I spent my first Xmas on my own in 2006 and it was infinitely better than the previous one in 2005. 2006 was actually the best Xmas in a long time. While the Singleton Xmases since then have varied from 'OK' to 'good', I have developed a strategy over time, which I continue to work on and improve.</i><br />
<i><br /></i>
<i>Here are my tips, framed in a mnemonic which is also a tip in its own right: <b><span style="color: red;">FRIDGE!</span></b></i><br />
<br />
<b><span style="color: red;">1 FAMILY</span></b><br />
If you have no family, are estranged from them, or they live in another part of the world, make your own family! Your family can consist of just you. At least you like ‘you’, you know what ‘you’ like, and you will be nice to ‘you’. If you are lucky enough to have a bobbins (for ‘bobbins’ read ‘pet’) then you are very fortunate as they are your family. Wrap a present from your bobbins to yourself and vice versa. Have a little present opening ceremony where they enjoy the wrapping paper much more than the present you bought them, and you really enjoy the present they gave you because you helped them buy it. If, like me, you got their present from them to you in September, then you may even be lucky enough to have forgotten what it was and it will still be a surprise on Xmas day! Jean-Paul, the existential degu, bought me a book on Soviet Bus Stops this year, but it took me a while to remember!<br />
<br />
<b><span style="color: red;">2 RITUAL</span></b><br />
Follow old rituals and create new ones. Xmas is all about rituals: the rituals of the religious aspect of Christmas (if you follow a Christian-based religion), cultural rituals, rituals from your childhood, and so on. If some of the rituals from childhood are problematic, then drop them. If they don’t work this year, then don’t do them again. But, you can create new ones, and if they work they can become part of your 'Singleton Xmas' if you wish to employ them again in the future. I dress as if I am spending Xmas with others, I always have a Snowball while I’m putting my slap on, I put carols on on the radio first thing, and I always have melon for breakfast!<br />
<br />
<span style="color: red;"><b>3 INDULGENCE</b></span><br />
Indulge yourself. You have all the time to do this – one full 24 hr period at least. You don’t have to spend a lot of money. You can make crafty things for yourself (e.g. crackers), or make some foodstuffs (e.g. mince pies or delicious pickles). Make yourself a ‘proper’ Xmas meal and serve with a cracker and Xmas serviette. Get some gorgeous food in – stuff that you wouldn’t buy every day – such as truckles (a recent ritual I have added to my list). I like them as ‘objects’ and I also like their waxy covering. You can buy a few truckles quite cheaply. Much better than buying a mahoosive cheese selection and making yourself ill through gorging.<br />
<br />
<b><span style="color: red;">4 DRINK</span></b><br />
This is a tricky one. I have tried over-drinking and under-drinking and can tell you, quite honestly, that under-drinking is better when you are on your own. Also, you will be more likely to actually remember the day itself. Either pace yourself (one ‘alcoholic’ followed by one ‘soft’) or stop drinking after a certain time. My strategy is to not start before 11.oo and to stop drinking when I start eating my Xmas lunch. I also then never get a hangover and can do it all over again on Boxing Day! Don’t forget to treat yourself to something nice that you don’t have often, so that it becomes a treat and part of your new ritual.<br />
<span style="color: red;"><br /></span>
<b><span style="color: red;">5 GIVING</span></b><br />
We have already covered giving to yourself and your bobbins in terms of gifts. But I also mean here ‘forgiving’. I don’t mean you have to forgive others, although it may be the case and may be helpful to you (although it may not be). What I mean is be kind to yourself. Just because you are on your own doesn’t mean you are: a ‘bad’ person, are unworthy, are friendless or are unloved. It is just one day and you can make it anything from tolerable to great by being kind to yourself.<br />
<br />
<b><span style="color: red;">6 EFFORT</span></b><br />
I do think effort is one of the most important things in my top tips, even though it is at the bottom of the list. I always get up early. I love the silence early on Xmas day, it reminds me of Charlton Heston in <i>The Omega Man</i>: it’s like the world ended overnight and you are the only one alive. Joking apart, languishing in bed will just put off the inevitable. Best get up early and prepare the veggies and then there is time to watch one of your favourite films or a boxset. <i>White Christmas</i> has been on my list previously, but this year I am going to watch <i>Doctor Doolittle</i> and <i>West Side Story</i>.<br />
<br />
<i>Well, I hope this has been helpful, folks. Over and out, and good luck on your Singleton Xmas.</i><br />
<i><br /></i>
<i>If in doubt, don’t forget: <span style="color: red;">FRIDGE!</span></i><br />
<br />
<b><span style="color: red;">EMERGENCY NUMBERS</span></b><br />
Childline: 0800 1111<br />
Samaritans: 116 123<br />
Domestic Violence Hotline: 0808 2000 247<br />
Mind: 0300 123 3393<br />
Age UK: 0800 169 6565<br />
RSPCA: 0300 1234 999
<br />
<br />
I would just like to add that I have very kind friends who I have spent Xmas with in this time-frame and which I really enjoyed. I also spent a great Xmas with a friend at my home in 2014.<br />
<br />
Please feel free to comment.
Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com2tag:blogger.com,1999:blog-786934403154990603.post-13022387409107123912020-11-28T09:53:00.003+00:002020-11-28T09:53:48.283+00:00Merlin Coverley's 'Hauntology'<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-kaSBm1tIdEs/X8DGMkh5QQI/AAAAAAAADUE/aANYf2nC1mAQLrdP9fE1BEPtxZAofBhXACLcBGAsYHQ/s2048/91nlhLvwi4L.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1334" height="320" src="https://1.bp.blogspot.com/-kaSBm1tIdEs/X8DGMkh5QQI/AAAAAAAADUE/aANYf2nC1mAQLrdP9fE1BEPtxZAofBhXACLcBGAsYHQ/s320/91nlhLvwi4L.jpg" /></a></div><br /><p></p><p>Merlin Coverley's latest book - <i><a href="http://oldcastlebooks.co.uk/index1.php?imprint=5&isbn=9780857304193" target="_blank">Hauntology: Ghosts of Futures Past</a></i> - has just been published by Oldcastle Books (2020), and I am lucky enough to have a review copy. This isn't going to be a 'traditional' review. Rather more, in providing some extracts and discussion, I am going to highlight a couple of my favourite theories from the book. If you would like a straightforward review, you can go to <i><a href="https://www.indiependent.co.uk/book-review-hauntology-merlin-coverley/" target="_blank">The Indiependent</a></i> or <i><a href="https://www.horrifiedmagazine.co.uk/reviews/hauntology-ghosts-of-futures-past-review/" target="_blank">Horrified Magazine</a></i>, but I will also include the blurb from the back cover, so that you get an overview of this non-fiction text and can see where the theories I will be discussing fit into the overall book. I just want to add, though, that despite the fact I am looking at two of the key theories elucidated in the book, this is a book for anyone interested in: the past, the occult, psychogeographical literature, popular culture, ghost stories, folk horror, nostalgia, and so on, and not just for academics:</p><p></p><blockquote><p>Ghosts and spectres, the eerie and the occult. Why is contemporary culture so preoccupied by the supernatural, so captivated by the revenants of an earlier age, so haunted? The concept of Hauntology has evolved since first emerging in the 1990s, and has now entered the cultural mainstream as a shorthand for our new-found obsession with the recent past. But where does this term come from and what exactly does it mean?</p><p>This book seeks to answer these questions by examining the history of our fascination with the uncanny from the golden age of the Victorian ghost story to the present day. From Dickens to Derrida, MR James to Mark Fisher; from the rise of Spiritualism to the folk horror revival, Hauntology traces our continuing engagement with these esoteric ideas. Moving between the literary and the theoretical, the visual and the political, Hauntology explores our nostalgia for the cultural artefacts of a past from which we seem unable to break free.</p></blockquote><p></p><p><b>DERRIDA'S HAUNTOLOGY: Utopian Futures and Enduring Spirits</b></p><p>Coverley's opening launches with a proposed answer to the question above in regard to our fascination with the past. He says that our "preoccup[ation]...can be found through the examination of what one critic has described recently as 'perhaps the most important, political-philosophical concept we have right now': hauntology''. Quoting <a href="https://www.newstatesman.com/politics/uk/2019/07/ghosts-our-lives" target="_blank">Thomas Wyman</a>, here, Coverley then leads us to the inventor of that theory, Jacques Derrida, explaining its explication through Derrida's text <i>The Spectres of Marx</i> (1993). While the theory of hauntology was formulated by Derrida as a way of examining the enduring nature of Marx's work, today it has become common parlance in certain circles and is about how the past constantly reappears in our present through its various cultural manifestations, but also in regard to the political ramifications of the past and how they come back to haunt us. A perfect contemporary example of this is the populist political figurehead and the current draw, amongst many, towards more authoritarian political stances. On this point, I like the way Coverley highlights the utopian aspect of hauntology when he states: "Derrida used hauntology, his science of ghosts, to demonstrate that...the spectre of Marx, like all ghosts which have yet to be laid to rest, would return, repeatedly, disrupting the present and continuing to remind us of another possible future". Something we should all hope for after the 2020 we have had, which has both politically and medically invoked the ghosts of the past!</p><p>Coverley also evokes - actually under the rubric of hauntology, he rather invokes - Mark Fisher's work (see <i><a href="https://www.johnhuntpublishing.com/zer0-books/our-books/ghosts-my-life" target="_blank">Ghosts of My Life: Writings on Depression, Hauntology & Lost Futures</a></i>) in regard to his discussion on "temporal currents". For Fisher, hauntology operates when phenomenon that is "<i>not yet</i>" present "haunts the present from the future". It is also the case that something that "<i>no longer</i>" exists "haunts the present from the past". Both these spectres are evident in the present via "repetition or anticipation". Coverley explains that this "ghost...comes from the past to manifest itself in the present and yet...belongs to neither". This is where Derrida's interest in the ghost as a deconstructive mechanism becomes apparent, the spectre being both "absent and present". Later in the book, Coverley revisits Derrida's hauntology in more depth by examining the paradox functioning in these types of binary oppositions - e.g. absence/presence - that intrigued Derrida so much. Coverley says the ghost is "both inside and outside of time, both beyond and of history" and one of the themes that recurs in his discussion of Derrida's hauntology is 'the return', which leads me neatly on to a discussion of the uncanny in regard to Coverley's book.</p><p><b>FREUD'S UNCANNY: The Return of the Father</b></p><p>For Freud the uncanny (<i>The Uncanny</i> 1899) is something which - to put very simply - is both familiar and unfamiliar, homely and unhomely (<i>heimlich </i>and <i>unheimlich </i>in the German). Because of its definition, it is clear why Derrida was so interested in Freud's uncanny: there is a contradiction at the heart of its very being. For Coverley (and he does allude to the knottiness of the term), the uncanny is used in the sense that it represents for Freud "death, dead bodies, revenants, spirits and ghosts" (Freud's words). Coverley explains that Freud is uncomfortable with using the language of the spectre due to his academic standing. However, we can see how the ghost (in the form of the returning 'thing', the repressed) is actually a fundamental part of psychoanalysis, as both a phenomena located in the unconscious and in terms of the psychoanalytic process itself: returning, repeating, and so on. Whether it is the compulsion to repeat (the returning trauma) or the revisiting of that trauma within the consulting room of the psychoanalyst. Coverley explains: "the repetition and doubling [are] to be found at the heart of Freud's concept [and] are replayed through the returns the re-enactments of the historical past". </p><p>The section that follows the above in Coverley's book takes a look at <i>Archive Fever: A Freudian Impression</i> (Derrida 1995), in relation to literature. For those literature boffins who read this blog, Coverley discusses M R James, Robert McFarlane and H P Lovecraft in this section. I think this is a neat inclusion of <i>Archive Fever</i> here by Coverley, where he examines the death drive in relation to the literature he discusses. But I would also like to add to that the ghosts that appear at the outset of <i>Archive Fever</i>, Derrida's inspiration for the book, and there are two. In <i>Archive Fever</i> Derrida writes of how the private event of Freud’s circumcision becomes public when its trace becomes part of the archive which is the <a href="https://www.freud.org.uk/" target="_blank">Freud Museum</a>. An inscription appears in the archive in the form of a bible that Freud’s father has re-covered in new leather and re-gifts to him. Freud's father presents it to his son on his birthday. For Derrida this private inscription is both the note from Freud’s father, and Freud’s circumcision. I would argue, too, that both these (in their ghostly manifestation) are ever-present, ever-absent...spectres...the haunting of which appear in the trace that is left by what was...</p><p><b>You can order Coverley's book <a href="http://oldcastlebooks.co.uk/index1.php?imprint=5&isbn=9780857304193" target="_blank">here</a>!</b></p><p>I have also written about the uncanny on this blog before (in relation to psychogeography), so if you are interested, click on the following:</p><p><a href="http://particulations.blogspot.com/2012/04/taking-urban-walk-with-freud-part-2-red.html" target="_blank">Taking an Urban Walk With Freud</a></p><p><a href="http://particulations.blogspot.com/2015/05/uncanny-effects-and-perambulatory.html" target="_blank">Uncanny Effects and Perambulatory Weirdness</a></p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-79692947082860899742020-10-17T10:07:00.003+01:002020-10-17T10:09:10.646+01:00Conclusion of Walking Inside Out<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-6E2k7JUnwvs/X4qxYuQqw_I/AAAAAAAADTo/YZFc5aE8o8w7g70avM_mwKuAMDDVaAsQACLcBGAsYHQ/s1296/Walking%2BInside%2BOut%2BCover%2B2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="1296" src="https://1.bp.blogspot.com/-6E2k7JUnwvs/X4qxYuQqw_I/AAAAAAAADTo/YZFc5aE8o8w7g70avM_mwKuAMDDVaAsQACLcBGAsYHQ/s320/Walking%2BInside%2BOut%2BCover%2B2.jpg" width="320" /></a></div><p>When I author-edited <i><a href="https://rowman.com/ISBN/9781783480852/Walking-Inside-Out-Contemporary-British-Psychogeography" target="_blank">Walking Inside Out</a>: Contemporary </i><i>British </i><i>Psychogeography</i> (Rowman and Littlefield International 2015) back in 2014, I wrote two conclusions. The first one was, in the most part, a reply to the critics of psychogeography. Below is an extract from the second draft, the one that was published (please click <a href="https://docs.google.com/document/d/e/2PACX-1vSrfBcv9oo6e1otecE_Vq77vZh7_1rE1NCFZGYV5Me2QTUliSHqtYqjhUKNT8-8O9l-Gig51V49SzqR/pub" target="_blank">here</a> to download the whole chapter), which I am making available for the first time. I will post the original draft in the next blog post. </p><p></p><p class="MsoNormal" style="line-height: 150%; text-align: justify;"><b><span style="color: #351c75; font-size: medium;">Conclusion: The
New Psychogeography</span><o:p></o:p></b></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify;"><b>Tina Richardson<o:p></o:p></b></p>
<p align="center" class="MsoNormal" style="line-height: 150%; text-align: center;"><b>Resurgence
and Revival</b><o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36pt;">In an interview in <i style="mso-bidi-font-style: normal;">Fortean Times</i>
in 2002, Sinclair was asked what his involvement was in the revival of
psychogeography during the 1990s, he replied: “In a classic sense I don’t think
I had anything to do with it. But the whole term has been dusted down and
reinvented and re-used by people like Stewart Home and the London
Psychogeographical Association” (cited<!--[if supportFields]><span
style='mso-element:field-begin'></span> ADDIN EN.CITE
<EndNote><Cite><Author>Pilkington</Author><Year>2002</Year><RecNum>70</RecNum><record><rec-number>70</rec-number><foreign-keys><key
app="EN" db-id="fz92wrwx8wpxraesewvx2ptmv05fdtsrz2px"
timestamp="1408617538">70</key></foreign-keys><ref-type
name="Online
Multimedia">48</ref-type><contributors><authors><author>Pilkington,
Mark and Phil
Baker</author></authors></contributors><titles><title>City
Brain</title></titles><dates><year>2002</year><pub-dates><date>21
August 2014</date></pub-dates></dates><publisher>Fortean
Times</publisher><urls><related-urls><url>http://www.forteantimes.com/features/interviews/37/iain_sinclair.html</url></related-urls></urls></record></Cite></EndNote><![endif]--><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--> in Pilkington and Baker 2002,
3). <span style="mso-bidi-font-weight: bold;">Of this period in psychogeography,
Sinclair explains that “</span><span style="color: black;">there was a kind of
strategy to this rebranding, I was quite happy to run with it as a franchise,
as a way of talking about doing the things I'd always done and providing a
useful description that could be discussed in public. It became a bit of a
monster on the back of that”</span><span style="color: red;"> </span><span style="color: black;">(ibid.).</span> He goes on to explain that by the time he
was using the term it was “more like a psychotic geographer…a raging bull
journey against the energies of the city” (ibid.).<o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36pt;">At the point of writing this conclusion, well over ten years on from
Sinclair’s comment above, what has psychogeography become in the second decade
into the 21<sup>st</sup> century? And, is the current resurgence just a
continuation of the one Sinclair mentions (the one of the London
Psychogeographical Association), or has it morphed into something else?<a href="file:///C:/Users/Tina/Word/Study/PhD/Psychogography%20Edited%20Volume/Essays/Third%20Drafts/Conclusion.docx#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-GB; mso-bidi-font-family: Mangal; mso-bidi-language: HI; mso-fareast-font-family: SimSun; mso-fareast-language: HI; mso-font-kerning: .5pt;">[i]</span></span><!--[endif]--></span></span></a>
James D. Sidaway says of human geography and its related fields that
“increasing attention is being dedicated to the social relations of emotion and
action under the label of ‘affect’” (2009, 1092). If there is a current focus
on the affective response to space then this could be connected to what is called
placiality (Edward Casey). Postmodern space has become so complex in its
palimpsest form that our reaction to it has reached a kind of critical mass
whereby we feel compelled to attempt to articulate our response to the terrain.
This is also reflected in cultural theory on space/place of the late 20<sup>th</sup>
century (such as that of Henri Lefebvre and Gaston Bachelard), as discussed by
Stephen Hardy in ‘Placiality: The Renewal of the Significance of Place in
Modern Cultural Theory’ (2000). In 1984 Michel Foucault stated that “[t]he
present epoch will perhaps be above all the epoch of space” (2001, 237), <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Foucault</Author><Year>2001</Year><RecNum>91</RecNum><record><rec-number>91</rec-number><foreign-keys><key
app="EN" db-id="fz92wrwx8wpxraesewvx2ptmv05fdtsrz2px"
timestamp="1419851497">91</key></foreign-keys><ref-type
name="Book Section">5</ref-type><contributors><authors><author>Foucault,
Michel</author></authors><secondary-authors><author>Nicholas
Mirzoeff</author></secondary-authors></contributors><titles><title>Of
Other Spaces</title><secondary-title>The Visual Culture
Reader</secondary-title></titles><pages>237-244</pages><dates><year>2001</year></dates><pub-location>London
and New York</pub-location><publisher>Routledge</publisher><urls></urls></record></Cite></EndNote><![endif]--><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->but of today’s epoch we can
confidently say that it is one of ‘place’. The concept of place is now finding
its way into popular/everyday vocabulary. In December 2014 a BBC Radio 4
programme entitled <i style="mso-bidi-font-style: normal;">Sense of Place</i> was
broadcast. It included an interview with Joanne Parker who, on the concept of
place, said: “one person’s place is very much another person’s space…landscape
is first and foremost a way of creating belo<!--[if supportFields]><span
style='mso-element:field-begin'></span> ADDIN EN.CITE
<EndNote><Cite><Author>Parker</Author><RecNum>93</RecNum><record><rec-number>93</rec-number><foreign-keys><key
app="EN" db-id="fz92wrwx8wpxraesewvx2ptmv05fdtsrz2px"
timestamp="1419947995">93</key></foreign-keys><ref-type
name="Podcast">62</ref-type><contributors><authors><author>Parker,
Joanne</author></authors></contributors><titles><secondary-title>Sense
of Place</secondary-title><tertiary-title>Start the
Week</tertiary-title></titles><dates><year>
2014</year><pub-dates><date>29 12 2014</date></pub-dates></dates><publisher>BBC
Radio
4</publisher><urls><related-urls><url>http://www.bbc.co.uk/programmes/b04vk6kr</url></related-urls></urls></record></Cite></EndNote><![endif]--><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->ngingness and tying us
together” (2014). <o:p></o:p></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36pt;">Writing at the same time as Sidaway, Bonnett says that “British
psychogeography should be understood as a site of struggle over the politics of
loss within radical imagination” (2009, 46). Our desire to not only explore the
social history of a particular space, but also to express it in a personal and
affective way that responds to the aesthetics of that place as it is for us, is
one that comes about through description via our imagination, an individual
expression which is different for everyone, in other words a
psychogeographically articulated response. <span style="mso-bidi-font-family: "Times New Roman";">Bonnett </span><!--[if supportFields]><span
style='mso-bidi-font-family:"Times New Roman"'><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Bonnett</Author><Year>2013</Year><RecNum>53</RecNum><record><rec-number>53</rec-number><foreign-keys><key
app="EN" db-id="fz92wrwx8wpxraesewvx2ptmv05fdtsrz2px"
timestamp="1408430233">53</key></foreign-keys><ref-type
name="Encyclopedia">53</ref-type><contributors><authors><author>Bonnett,
Alastair</author></authors></contributors><titles><title>Psychogeography</title><secondary-title>Oxford
Bibliographies Online: Geography</secondary-title></titles><dates><year>2013</year></dates><urls><related-urls><url>http://www.oxfordbibliographies.com/view/document/obo-9780199874002/obo-9780199874002-0020.xml</url></related-urls></urls><access-date>19
August 2014</access-date></record></Cite></EndNote></span><![endif]--><!--[if supportFields]><span
style='mso-bidi-font-family:"Times New Roman"'><span style='mso-element:field-end'></span></span><![endif]-->says<span style="mso-bidi-font-family: "Times New Roman";"> a</span> “<span style="mso-bidi-font-family: "Times New Roman";">much broader group of people are
now interested and involved in psychogeography, many of whom have no interest
in the Situationists. It may be argued that this is a form of depolitization or
that psychogeography has outgrown the limited and exclusionary world of the
revolutionary </span>avant-garde”<span style="mso-bidi-font-family: "Times New Roman";">
(2013)</span>. If this is the case, then the sharing of psychogeographical
accounts from whatever perspective (activist or otherwise) have been enabled
through contemporary technology, with websites, blogs, social networking and aided
by new ‘geo apps’.<span style="color: #538135; mso-themecolor: accent6; mso-themeshade: 191;"><o:p></o:p></span></p>
<p class="ThesisBodyText" style="margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"><span style="line-height: 150%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">Global Positioning
Systems (GPS) and Geographic Information Systems (GIS) have granted individuals
access to data and aided them in creating representations of space/place in a
totally different way, as the hobby of geocaching attests to (geocaching </span>involves
individuals locating secreted packages, with clues to their location loaded
online, via GPS<span style="line-height: 150%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">). Even navigating the internet itself
has been compared to exploring urban space (see ‘Psychogeography, <i style="mso-bidi-font-style: normal;">Détournement</i>, Cyberspace’ by Amy J.
Elias [2010]).<a href="file:///C:/Users/Tina/Word/Study/PhD/Psychogography%20Edited%20Volume/Essays/Third%20Drafts/Conclusion.docx#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-font-family: SimSun; mso-fareast-language: HI; mso-font-kerning: .5pt;">[ii]</span></span><!--[endif]--></span></span></a>
Often appearing under the umbrella of neogeography, the use of the internet and
mobile technologies opens up space for groups and individuals and enables them
to readily share the products of their walks. For example, OpenStreetMap is
open source software by the OpenStreetMap Foundation and is a collaboration by
its contributors providing free geographical data and mapping. Anyone can
contribute by signing-up online. The data of routes walked can be picked up by
using GPS software on a smartphone, then made into maps and freely shared.<a href="file:///C:/Users/Tina/Word/Study/PhD/Psychogography%20Edited%20Volume/Essays/Third%20Drafts/Conclusion.docx#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold; mso-bidi-language: HI; mso-fareast-font-family: SimSun; mso-fareast-language: HI; mso-font-kerning: .5pt;">[iii]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></p>
<p class="ThesisBodyText" style="margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"><span style="line-height: 150%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">This digital and
satellite way of creating maps enables a synthesis with the older peripatetic
method of simply talking and writing about walks. It allows the
psychogeographer to include more tools for tracking their walks, presenting
their information and making it available for others to access. These maps and
forms of data collection show the infinite possibility of cartographies and
ways for walkers to present personal and qualitative information. They offer a
large degree of control of the mapping process to the user/cartographer. The
open source software that is often used for these types of collaborations to a
large extent disengages the data from capitalist production and, hence,
provides more freedom of expression, production and distribution. This enables
their use in explorations of space, creating mapping-oriented art for pleasure
or for a variety of community-based projects.<o:p></o:p></span></p>
<p class="ThesisBodyText" style="margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"><span style="line-height: 150%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt;">The current resurgence
in walking has coincided with a renewed interest in cartography encouraged by
the availability of digital tools. While these tools are often used by
non-specialist users in community and arts-based projects, the contemporary
psychogeographer is at once embracing and critical of the new technology,
preferring to use it as one tool amongst many for creating, recording and
producing output from the dérive.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 36pt;"><!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Keiller</Author><Year>2013</Year><RecNum>46</RecNum><record><rec-number>46</rec-number><foreign-keys><key
app="EN" db-id="fz92wrwx8wpxraesewvx2ptmv05fdtsrz2px"
timestamp="1407833834">46</key></foreign-keys><ref-type
name="Book">6</ref-type><contributors><authors><author>Keiller,
Patrick</author></authors></contributors><titles><title>The
View From the Train: Cities and Other
Landscapes</title></titles><dates><year>2013</year></dates><pub-location>London
and New York</pub-location><publisher>Verso</publisher><urls></urls></record></Cite></EndNote><![endif]--><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->In <i style="mso-bidi-font-style: normal;">The View From the Train: Cities and Other Landscapes</i> (2013) Keiller
says that the current revival in the UK is very much Situationist oriented and
is connected to the desire to explore the urban landscape with tools such as
the dérive (2013, 133). While this seems to counter what Bonnet says above, this
is may be more to do with a matter of perspective. Both seem to be occurring,
separately and simultaneously. The objectives for walking are over-determined.
Some groups and individuals are interested in the process and practice of the d<span style="mso-bidi-font-family: "Times New Roman";">é</span>rive-type walk and are
not politically-oriented. Others are attempting an activist pursuit, on
differing scales. And some, even though they are not overtly being
interventionist, nevertheless will be intervening in the space as a side-effect
of what their other intentions might be.<o:p></o:p></p>
<div style="mso-element: endnote-list;"><!--[if !supportEndnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="edn1" style="mso-element: endnote;">
<p class="MsoEndnoteText" style="text-align: justify;"><span style="font-size: x-small;"><a href="file:///C:/Users/Tina/Word/Study/PhD/Psychogography%20Edited%20Volume/Essays/Third%20Drafts/Conclusion.docx#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-bidi-font-family: Mangal; mso-bidi-language: HI; mso-fareast-font-family: SimSun; mso-fareast-language: HI; mso-font-kerning: .5pt;">[i]</span></span><!--[endif]--></span></span></span></a><span> In an online article in June 2014 on <i style="mso-bidi-font-style: normal;">The Quietus</i> ‘‘A Living Memory’: Iain
Sinclair on Life at 70’ describes the term ‘psychogeography’ as having
“threatened to become an albatross around his neck” (Burrows 2014).<o:p></o:p></span></span></p>
</div>
<div id="edn2" style="mso-element: endnote;">
<p class="MsoEndnoteText" style="text-align: justify;"><span style="font-size: x-small;"><a href="file:///C:/Users/Tina/Word/Study/PhD/Psychogography%20Edited%20Volume/Essays/Third%20Drafts/Conclusion.docx#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-bidi-font-family: Mangal; mso-bidi-language: HI; mso-fareast-font-family: SimSun; mso-fareast-language: HI; mso-font-kerning: .5pt;">[ii]</span></span><!--[endif]--></span></span></span></a><span> The flexibility of psychogeography enables it to be
extended into many field, such as tourism, as can be seen in Charles McIntyres
book <i style="mso-bidi-font-style: normal;">Tourism and Retail: The
Psychogeography of Liminal Consumption</i> (2012).<o:p></o:p></span></span></p>
</div>
<div id="edn3" style="mso-element: endnote;">
<p class="MsoEndnoteText" style="text-align: justify;"><span style="font-size: x-small;"><a href="file:///C:/Users/Tina/Word/Study/PhD/Psychogography%20Edited%20Volume/Essays/Third%20Drafts/Conclusion.docx#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman",serif; mso-ansi-language: EN-GB; mso-bidi-font-family: Mangal; mso-bidi-language: HI; mso-fareast-font-family: SimSun; mso-fareast-language: HI; mso-font-kerning: .5pt;">[iii]</span></span><!--[endif]--></span></span></span></a><span> </span><span style="mso-bidi-font-family: "Times New Roman";">For those who are interested in technology and its uses in
psychogeography, the geographer and psychogeographer Tim Waters provides
examples of his own work in this field on his blog www.thinkwhere.wordpress.com.</span></span><span style="font-size: 12pt;"><o:p></o:p></span></p>
</div>
</div><br /><p></p>Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0tag:blogger.com,1999:blog-786934403154990603.post-31027598468715003812020-08-21T10:23:00.007+01:002020-08-22T12:20:44.868+01:00A Psychogeography Bucket List<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-PdlsU0n3Bog/WBSTlunEqHI/AAAAAAAACso/4U51qvFAbu8A-HAYGWh1gUs5cU9CtuOcgCLcB/s1600/Nissan%2BHut%2B1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://4.bp.blogspot.com/-PdlsU0n3Bog/WBSTlunEqHI/AAAAAAAACso/4U51qvFAbu8A-HAYGWh1gUs5cU9CtuOcgCLcB/s320/Nissan%2BHut%2B1.jpg" width="320" /></a></div>
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<span face="" style="font-family: corbel, sans-serif; font-size: 11pt;"><i>In early 2015 Anna Chism interviewed the British psychogeographer, Dr. Tina Richardson, </i></span><span face="" style="font-family: corbel, sans-serif; font-size: 14.6667px;">ahead of the release of her edited volume </span><i style="font-family: corbel, sans-serif; font-size: 14.6667px;"><a href="https://rowman.com/ISBN/9781783480852/Walking-Inside-Out-Contemporary-British-Psychogeography">Walking Inside Out: Contemporary British Psychogeography</a></i><span face="" style="font-family: corbel, sans-serif; font-size: 14.6667px;"> </span><i style="font-family: corbel, sans-serif; font-size: 11pt;">. This interview was featured in both </i><a href="http://particulations.blogspot.co.uk/2015/06/s-t-e-p-z-official-launch.html" style="font-family: corbel, sans-serif; font-size: 11pt; font-style: italic;">STEPZ</a><i style="font-family: corbel, sans-serif; font-size: 11pt;"> and </i><a href="https://www.peopleofprint.com/general/foxhole-magazine-interview/" style="font-family: corbel, sans-serif; font-size: 11pt;" target="_blank">Foxhole Magazine</a><i style="font-family: corbel, sans-serif; font-size: 11pt;"> (vol. 1)</i></div>
<div class="MsoNormal" style="margin-bottom: 4pt;"><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;"><span style="font-size: 11pt;"><br /></span></span></div><div class="MsoNormal" style="margin-bottom: 4pt;"><span face="" style="color: #660000; font-family: corbel, sans-serif; font-size: 11pt;"><span style="font-size: 11pt;"><b>By Anna Chism</b></span></span></div><div class="MsoNormal" style="margin-bottom: 4pt;">
<span face="" style="font-family: corbel, sans-serif; font-size: 11pt;"><span style="font-size: 11pt;">I eventually find Tina’s house just off the
Leeds Ring Road. With a pub, bowls club, wooded area and dog-walking field
opposite, it is a geographical combination of suburban-rural. I imagine it is
an interesting space for a psychogeographer to reside. She has lived in this
part of North Leeds for the past three years in a post-Victorian terraced house
along with her elderly companion, ex-hippy turned nun, Sister Moonshine.</span></span></div>
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<span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">Tina could not be described as a reluctant
interviewee, giving interviews to anyone who will give her a minute of their
time. As part of the current revival of psychogeography she is one of the ‘the
new psychogeographers’, the moment whereby psychogeography is becoming
increasin<i>g</i>ly self-conscious and
reflexive. <o:p></o:p></span></div>
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<span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">Tina welcomes me into her study – a room full
of books and objet d’art resembling a pretentious kitsch version of Freud’s
office-cum-consultant-room – and we settle by the window with our rooibos. I throw my coat over a
fluorescent green plaster-of-Paris version of Rodin’s <i>David</i> and congratulate her on the record-breaking numbers of
pre-orders of her new volume. And we begin.<o:p></o:p></span></div>
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<b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">AC:
Tina, tell me the top three places in the world you would like to carry out a
psychogeography-related project.<o:p></o:p></span></b></div>
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<i><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">TR: At
the moment – and this list would possibly be different if you asked me in a
year’s time – it would be Dubai, Camp Bastion and Wymondham College.<o:p></o:p></span></i></div>
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<b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">AC:
Well, I’ve heard of the first two, but where the heck is Wymondham College and
what makes it a place ripe for psychogeography?<o:p></o:p></span></b></div>
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<i><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">TR: It’s
actually a secondary school in Norfolk not far from Norwich and it used to be a
military hospital up until it became a grammar school in 1951. It’s a publicly
funded boarding school and has a noteworthy campus format, and needless to say,
an interesting history, which actually includes Anglo Saxon finds. At one time
the pupils slept in Nissan huts left there by the British Forces and even up
until the 1980s attended classes in the huts. Only one Nissan hut remains now,
as part of the school’s heritage.<o:p></o:p></span></i></div>
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<b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">AC: What
angle would you take if you had the opportunity to work on the campus?<o:p></o:p></span></b></div>
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<i><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">TR: Well,
while it would be easy for me to use the same methodology I did for my PhD – a
schizocartography of a campus space (in that instance the University of Leeds)
– I think Wymondham College lends itself better to one of hauntology. For
instance, part of the original hospital has a mortuary, but more significantly
than that are the anecdotal stories that have become memes promulgated by the
pupils themselves. These ghostly stories about the college are passed on to all
the new pupils by the older ones, often carried out in performative way at night and on specific
dates each year.<o:p></o:p></span></i></div>
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<b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">AC: Tell
me what it is about Dubai that takes your urban fancy?<o:p></o:p></span></b></div>
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<i><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">TR: Ever
since I’ve been a psychogeographer I’ve been interested in Dubai. I used to
teach a class on it and used it as an example of a postmodern space. In a way
it is a post-postmodern space. If Los Angeles represents the postmodern city </span></i><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">par excellence<i>, then Dubai represents the next phase of
urban development, whatever the name for that might be. Dubai needs its own
school of urbanism and theory like Chicago and Los Angeles had. This potential
school would look at a dynamics of urbanism whereby actual physical space is
created from ‘nothing’, either vertically, as in </i>Blade Runner<i> and </i>The Fifth Element<i>, or horizontally, for example like Dubai,
from the sea, by creating islands of sand.</i></span></div>
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<b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">AC: What
kind of problems might you anticipate if you were to carry out psychogeography
in Dubai?<o:p></o:p></span></b></div>
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<i><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">TR: I’m
not sure what it is like for a woman to walk in Dubai. It is not a
pedestrian-friendly city by all accounts. I did a project in Los Angeles – the
city of cars – and that was interesting in a place where perambulation is a rare
form of moving about the city. However, in regard to Dubai, my interest is
in the spaces that have been formed out of the sea, such as the Palm Islands.
These islands can be seen from space. They have changed the lie of the land on
a very fundamental level and in an amazingly creative way.<o:p></o:p></span></i></div>
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<b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">AC:
Thanks, Tina. Now for your final space. Surely you’ve missed the
psychogeographical boat of Camp Bastion?<o:p></o:p></span></b></div>
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<i><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">TR: Yes,
I’m afraid that’s true. Ideally I would have loved to have done a project
during the peak of its decommissioning, but it is coming to an end now. Camp
Bastion is returning to the desert from whence it sprung, a bit like Dubai but
in reverse. Camp Bastion was a city as well as a military airbase. It required
a project in itself in the dismantling of it – actually costing six times more
than that of its creation. It’s a unique space and it is this that makes it
intriguing to me. Before Camp Bastion, Chernobyl was on my bucket list, but
Chernobyl has been worked and re-worked a lot in recent times.<o:p></o:p></span></i></div>
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<b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">AC: How
would you have made your case for doing a project in Camp Bastion?</span></b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;"><o:p></o:p></span></div>
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<i><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">TR:
Well, I wouldn’t have passed the security checks even if there was the remotest
chance they’d have allowed a 'civvy' on the camp. They would have taken one look
at my website and thought ‘There is no way we are letting that lefty subversive
anywhere near this base’!<o:p></o:p></span></i></div>
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<b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">AC: What
other places are on your bucket list?<o:p></o:p></span></b></div>
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<i><span face=""><span face="" style="font-family: corbel, sans-serif;"><span style="font-size: 11pt;">TR: </span><span style="font-size: 14.6667px;">Portmeirion</span><span style="font-size: 11pt;">, Fordlandia and Celebration would all be interesting places to
explore, and for similar reasons, and are definitely on my list.</span><o:p style="font-size: 11pt;"></o:p></span></span></i></div>
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<b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">AC:
Before we finish, can I ask you what you are working on now?</span></b><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;"><o:p></o:p></span></div>
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<i><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">TR: I’m
currently scheduling talks for the promotion of the book and working on the
autumn edition of </span></i><span face="" style="font-family: corbel, sans-serif; font-size: 11pt;">Stepz<i>.<o:p></o:p></i></span></div>
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<div class="MsoNormal" style="margin-bottom: 4pt;"><span face="" style="font-family: corbel, sans-serif;"><span style="font-size: 14.6667px;">Before leaving the house, to head back to Leeds Railway Station, Tina successfully managed to cajole me into being the nth donor for the GoFundMe page for medical costs for the elderly Sister Moonshine and, irritatingly, insisted on walking me to Horsforth train station, pointing out all the "architectural phalluses" on the way!</span></span></div>
Particulationshttp://www.blogger.com/profile/02947346759330291873noreply@blogger.com0