Public: definitions: flaneur , derive, detournement

Spatial Studies 7c: Lecture 7 New Urbanism, Dematerializationin-class final March 11 (2 weeks from today)3rd project deadline extended – 20pts. Public: definitions: flaneur, derive, detournement examples of detournement (reorganizing perception of public space) B. Chance+ reorganizing perception of public space: + Dematerialization Light and Space, Video installations Project IV Private to Public

Public Space: Definitions: Dérive (n): drift, adrift International Situationists introduced concept in late 50s Dérive, a non-optical apprehension of urban space anticipating cognitive mapping Fugitive encounter of various atmospheres while aimlessly drifting in a city Psychogeographical understanding (Hollevoet) Flaneur (n): stroller, loafer, idler The flaneur’s investigation of the city is an early attempt to read the essence of modernity in urban spatial configuration (Hollevoet) Element of chance + move away from picturing the city to Feeling the city from the ground up The Hausmann Plan, Napoleon commissions Hausmann to reorganize and restructure Paris for Modern era, 1853-1870, Destroying old city, displacing homeless and street life

Public Space: Definitions: • Detournement (n): a diversion, hijacking, appropriation • - A satirical parody that uses elements of the original work or act • Examples: Steven Colbert’s White House Correspondence Dinner 2006http://www.youtube.com/watch?v=BSE_saVX_2A • Wolf Blitzer and John King CNN: Palin and Tina Fey http://www.youtube.com/watch?v=0riZ3PtKT3s • (Top, John Colbert, right, Tina Fey and Amy Poehler as Sarah Palin and Hilary Clinton)

Sebastian Mendes, c.1983, (title unknown), City Hall, San Francisco Public: Urban Spaces:Reorganizing perception of public space:Examples of detournementcity becomes arena for site-specific sculptures and performances

A. Public: Urban Spaces:Reorganizing perception of public space: Sebastian Mendes, c.1983, (title unknown), San Francisco Civic Center

Public: Urban Spaces:Reorganizing perception of public space:Examples of detournement OlafurEliasson, , Reverse Waterfall, 1998

Public: Urban Spaces:Reorganizing perception of public space:Charles Ray, Firetruck, 1993 Sebastian Mendes, Cancellation, c.1983, (title unknown), San Francisco

Public: Reorganizing perception of public space Piero Manzoni, Pedestal for the World, c. 1961

Public: Urban Spaces:Reorganizing perception of public space:Examples of work:Anti-Terror Variety, 2002, Canton Express/Big Tall Elephants/ Chen Shaoziong

Public: Urban Spaces:Reorganizing perception of public space:The Yes Men, 2004Bhopal India Dow Chemical Disaster, 1994http://www.youtube.com/watch?v=LiWlvBro9eI On December 3, 2004, the twentieth anniversary of the Bhopal disaster, Andy Bichlbaum[4] appeared on BBC World as "Jude Finisterra", a Dow Chemical spokesman. Dow is the owner of Union Carbide, the company responsible for the chemical disaster which killed thousands and left over 120,000 requiring lifelong care.

A. Public: Urban Spaces:Reorganizing perception of public space:The Yes Men, 2008 Psuedo New York Times printed, declared war in Iraq is over, dated July 4, 2009 Group visited UCSB fall, 2009 Website: http://www.nytimes-se.com/

A. Public: Urban Spaces:Reorganizing perception of public space:right, Krisztof Wodiczko, The Homeless Projections, 1986Vehicle for the homeless, belowhuman condition, memory,revealing the forgotten,social conscience Sebastian Mendes, Cancellation, c.1983, (title unknown), San Francisco

A. Public: Urban Spaces:Reorganizing perception of public space:Krisztof Wodiczko, London, Trafalgar Square, South African Embassy, unsanctioned swastika in place of eye

A. Public: Urban Spaces:Reorganizing perception of public space:Vibeke Tandberg, The Bride, 1993 Prints simultaneous wedding announcements with different men in all newspapers in Norway

Public: Urban Spaces:Reorganizing perception of public space:Reorganizing perception of public space:Richard Serra, Tilted Arc, removed from Federal Plaza, NY, in 1989, in Serra’s eyes, the work is destroyedEleanor Heartney – today more often than not… Sculpture is seen as a function of the space or the context.

A. Public: Urban Spaces:Reorganizing perception of public space:Conical Intersect, Gordon Matta-Clark, c. 1975

A. Public: Suburban Spaces: Reorganizing perception of public space:Splitting: Four Courners, Gordon Matta-Clark, c. 1974

Public: Suburban Spaces: Reorganizing perception of public space:Splitting: Four Corners, Gordon Matta-Clark, c. 1974

Public: Suburban Spaces:Reorganizing perception of public space:Examples of work:sculpture student, c.1995

B. Public: Chance and Dematerializationchance: like flipping a coin, Dada randomness BracoDimitrijevic, The Casual Passersby, 1971, Zagreb, Croatia

B. Public: Urban Spaces:chance: BracoDimitrijevic, The Casual Passersby I Met, 2007, Philadelphia

B. Public: Urban Spaces:chance + dematerializationGillian Wearing, Signs that Say What You Want Them to Say and Not Signs That Say What Someone Else Wants You to Say, 1992example of “community as context” and “shift away from formal dynamics of the site”E Heartney

B. Public: Urban Spaces:chance + dematerializationExamples of work:Gillian Wearing, Signs that Say What You Want Them to Say and Not Signs That Say What Someone Else Wants You to Say, 1992

B. Public: Urban Spaces:chance + dematerializationVito Acconci, Blinks, Nov. 23, 1969,“Holding a camera, aimed away from me and ready to shoot, while walking a continuous line down a city street.  Try not to blink.  Each time I blink: snap a photo.”

B. Public: Urban Spaces:chance + dematerializationVito Acconci, Following Piece, c.1969Acconci started the work by following the first person that he saw until he or she disappeared into a private place where Acconci could not enter. The act of following could last a few minutes, if the person then got into a car, or four or five hours, if the person went to a cinema or restaurant. Acconci carried out this performance every day for a month. He wrote about each pursuit and sent it each time to a different member of the art community.

B. Public: Urban Spaces: chance + dematerialization: Gabriel Orozco, Island Within an Island, 1993

Public: dematerialization - sound • Anya Gallaccio, In Spite of It All, c. 1990, London • Stainless steel kettles, wood table, 70ft. tower, air compressor

http://www.bloomberg.com/slideshow/2012-12-17/theaster-gates.html - slide6 B. Public Space: Activism – citywide redevelopment Theaster Gates, Chicago Dorchester Projects Archive Library - a once abandoned two-story house that now stores collections of architecture books and lantern slides. Theaster Gates has remodeled four buildings in Chicago's Grand Crossing neighborhood as an art-driven form of urban development.

http://www.youtube.com/watch?v=B4Ty4TTAX48 B. Public Space: chance + dematerialization Francis Alÿs, Sometimes Making Something Leads to Nothing, left, Re-enactment, right, (Beretta, staged, Aristotilian strategy of drama, remorse by artist about way that this work reinforced ubiquity of violence in Mexico – but foreshadows the extreme of violence in Mexico to come ) Belgian artist Francis Alÿs (b. 1959) uses poetic and allegorical methods to explore the social realities of political concepts, including the cyclical nature of change in modernizing societies, the urban landscape, and patterns of economic progress

http://www.youtube.com/watch?v=r_n2kfqNmpY Touch, 2002, below, rt., Lick and Lather Born in Bahamas, NY-based Conceptual photographer, performance artist and sculptor B. Public Space: chance + dematerialization Janine Antoni

C. Other kinds of spaces: Light and Space Robert Irwin One Wall Removed, 1980, Venice, Ca. Book: Seeing is Forgetting the Name of the Thing One Sees A. Light and Space

C. Light and Space James Turrell, Milk Run, 1996, Untitled, 1983 Phenomenology: noun 1. study of phenomena: in philosophy, the science or study of phenomena, things as they are perceived, as opposed to the study of being, the nature of things as they are 2. philosophical investigation of experience: the philosophical investigation and description of conscious experience in all its varieties without reference to the question of whether what is experienced is objectively real Drive for the real Real time, first person experience, immersive environment Los Angeles County Museum of Art James Turrell until April 16!!

C. Light and Space James Turrell Drawing for Afrum

C. Light and Space James Turrell, Heavy Water, 1991

C. Light and Space James Turrell, Sky Space, c.2000 Real time and space experience but is there an element of the transcendent? element

C. Light and Space James Turrell, Roden Crater, ongoing

C. Light and Space Anish Kapoor, Untitled, 1990

C. Light and Space Anish Kapoor, Cloud Gate, Millenium Park, Chicago, 2004

A. Light and Space Anish Kapoor, Cloud Gate, Millenium Park, Chicago, 2004

textual basis, aphorisms (a terse formulation of a truth or sentiment) “people who don’t work with their hands are parasites” “private property created crime” “murder has its sexual side” “words tend to be inadequate” C. Light and Space Jenny Holzer, Venice Biennale, 1990 Immersive environments

C. Light and Space Jenny Holzer, Guggenheim Museum retrospective, 1990, (frank lloyd wright)

C. Light and Space Richard Wilson, 20/50, 1987

C. Light and Space Bruce Nauman on left, Carsten Höller on right, Neon Circle, 2001

C. Light and Space and the Weather Rose Finn-Kelcey, Untitled 1992, Fog, 1971

C. Light and Space and the Weather Diller and Scofidio, Blur Building, 2002

Diller & Scofidio Blur BuildingYverdon-les-Bains, Switzerland“An inhabitable cloud whirling above a lake”. The Blur Building by Diller and Scofidio was a media pavilion for Swiss Expo 2002 on Lake Neuchatel in Yverdon-les-Bains, Switzerland. The building is based on the work of Buckminster Fuller. Filtered lake water shot as a fine mist through 13,000 fog nozzles is used to create an artificial cloud that measures 300 feet wide by 200 feet deep by 65 feet high. A built-in weather station controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed. The public can approach Blur via a ramped bridge. The 400 foot long ramp deposits visitors at the center of the fog mass onto a large open-air platform entering an optical “white-out” and the “white-noise” of pulsing water nozzles. Prior to entering the cloud, each visitor responds to a questionnaire/character profile and receives a "braincoat" (smart raincoat). The coat is used as protection from the wet environment and storage of the personality data for communication with the cloud’s computer network. C. Light and Space and the Weather Diller and Scofidio, Blur Building, 2002

Merging Immersive art with architecture Using tracking and location technologies, each visitor’s position can be identified and their character profiles compared to any other visitor. As visitors pass one another, their coats will compare profiles and change color indicating the degree of attraction or repulsion, much like an involuntary blush - red for affinity, green for antipathy. The system allows interaction among 400 visitors at any time. C. Light and Space and the Weather Diller and Scofidio, Blur Building, 2002

The subject of the weather has long shaped the content of everyday conversation. The eighteenth-century writer Samuel Johnson famously remarked ‘It is commonly observed, that when two Englishmen meet, their first talk is of the weather; they are in haste to tell each other, what each must already know, that it is hot or cold, bright or cloudy, windy or calm.’ In The Weather Project, Olafur Eliasson takes this ubiquitous subject as the basis for exploring ideas about experience, mediation and representation. C. Light and Space and the Weather Olafur Eliasson, The Weather Project, 2004

Public: definitions: flaneur , derive, detournement