The Everyday

Johnstone, s., (2008), The Everyday, London: Whitechaple & The MIT Press.
p70
it is in the space of the everyday, Marx claimed, that the workers self worth is possible. in this space, the fragments of the social world can be integrated with the essence of identity.

p81
how often is the particularity of the everyday lost as it is transformed in the process of description and interpretation?
the everyday represents an impossibly evasive terrain: to attend it is to loose it, or as Blanchot writes: 'we cannot help but miss it if we seek it through knowledge, for it belongs to a region where there is still nothing to know'
p68
the relationship between art and life is never straightforward or transparent. what cannot be denied, however, is the need for the artist to atart from the materiality of both art practice and experience.
p69
to consider art from the perspective of the everyday is to stress that the measure of art is not found by borrowing the yardsticks of other discourses, but rather from its articulation and practices within everyday life.
from'art and the everyday' there is but an indistinguishable step to the 'art of living'.
p70
a theory of the everyday is thus located in the in between spaces, the margins and disjunctive zones of the social.

paperwork

Clark,p., (2009), Paperwork, London: Black Dog Publishing Limited.

Paper collage, used / found printed paper, subjects are animals (dogs), and clothing.

Tuan, Y., (1990) Topophilia, A Study of Environmental Perception, Attitudes, and Values. Nee York, Columbia UniversitPress.

page 1
With out self-understanding we cannot hope for enduring solutions to environmental problems, which are fundamentally human problems. And human problems ...... hinge on the psycholohical pole of motivation.

p.53
Has the female a characteristic way of structuring the world that is different from the male?

In every known culture , male and female are assigned distinctive roles; they are taught in childhood to behave in differing ways, .... Dolls and guns.

p.55
When a girl designs an environment, it is usually that of a house interior, ..... in a girl's scene, people and animals are mostly within such an interior or enclosure, and they are primarily .. in a static position. Why static>

Along with tall structures boys play with the idea of collapse; ruins are exclusively male constructions. Does this include decay?

p99
A man's belongings are an extension of his personality; to be deprived of them is to diminish, ...his worth as a human being. Capitalism, ...a person in the process of time invests bits of his emotional life in his home, and beyond the home in his neighborhood. ...which in its familiarity protects the human being from the bewilderment of the outside world

Landscape phenomenology

Wylie, J., (2007), Landscape, Oxon, Routledge.

page 139.
Landscape phenomenology often lays stress upon some measure of direct, bodily contact with, and experience of landscape.

page 141
land art/ earth art, - movement began late 1960s, - aim to liberate art from confined, controlled settings e.g. galleries / museums. (spiral jetty).

page 143
landscape is conceptualised in terms of active, embodied and dynamic relations betweem people and land, between culture and nature more generally.
these relations are seen as ongoing and evolving rather than static. forever changing

page 144
landscape becomes the accomplice and expression. ?

p145
we define ourselves - we define the essence of what it is to exist as a human being - in terms of visual detachment. we define ourselves not as creatures in a world but as points of view upon it.

p146
thinking is thus the essence of being human, or, as Descarts puts it, I think therefore I am.

p149
"far from my body being for me no more than a fragment of space, there would be no space at all for me if I had no body" (ibid102).

p150
As I contemplate the blue of the sky I am not set over against it as an acosmic subject: I do not possess it in thought, or spread out toward it some idea of blue.....I abandon myself to it and plunge into this mystery, it thinks itself in me. (Merleau-Ponty, 1969, p214 Merleau - Ponty, 1969 quoted in Wylie, 2007, p150)) It's only when someone puts it into words.

p152
When I look, I see with landscape

p160
Landscape here understood , is not an amount of something, but a quality of feeling, in the end an emotional investment. I aggree.

p161
'through living in it, the landscape becomes a part of us, just as we are part of it' (ibid. p.191).

At its most intense, the boundaries between person and place, or between the self and the landscape, dissolve altogether. (ingold, 2000,p.56, original emphisis).

p.162
the landscape is not so much the object as 'the homeland of our thoughts'. (ingold, 2000,
I like this.
p176
Landscape is more than a way of seeing. Landscape is that with which we see, a perception - with - the - world. When I look I see with landscape.

p178
'my power of imagining is nothing but the persistence of the world around me'. Yes I only think about what I see and hear.

p182
Phenomonology originally takes shape as a lost quest for lost essences and ultimate foundations. ? Is this true?

History of maps

What is a map ? - A map is a graphic representation or scale model of spatial concepts. It is a means for conveying geographic information. Incorporated in a map is the understanding that it is a "snapshot" of an idea.

A map can display only a few selected features, which are portrayed usually in highly symbolic styles according to some kind of classification scheme. In these ways, all maps are estimations, generalizations, and interpretations of true geographic conditions. Maps of all kinds are fundamentally important for modern society.

Modern maps:- much of the world was poorly known until the widespread use of aerial photography following World War I. Modern cartography is based on a combination of ground observations and remote sensing.

J.S. Aber (2008) Brief History of Maps and Cartography. [Online] Available at: http://academic.emporia.edu/aberjame/map/h_map/h_map.htm. [Accessed on 18-3-2011]

Maps byArtists

Maps are an increasingly common feature of artistic practice in this information addicted early 21st century, as both representations of real places and diagrams of intangible things, whether movement, data, networks or imaginary realms. Any of these works represent maps that exist in people’s mind.

The exception is Simon Clarke’s Geographically Accurate Tube Map, which shows the actual shape of the underground system

Icon Magazine. (Issue 040 October 2006).Maps by Artists. Online [Available at] http://www.iconeye.com/index.php?option=com_content&view=article&id=2906 [Accessed on 18/3/2011]

"Glory in human chaos": Stephen Walter's maps of London go on show at Fenton House

By Culture24 Reporter | 12 October 2011

© Stephen Walter

Exhibition: Stephen Walter – The Island: London Series, Fenton House, London, until October 30 2011

"My maps revel in the intricacy of life," says Stephen Walter. "My epithets to places are intrinsically tied into the stories and experiences of the people who inhabit them and their collective knowledge.

"Life is fascinating. People are fascinating. How this mixes with the geography of this world is even more interesting and endless.

"The maps glory in the human chaos and are a celebration of the concept of place. And the sheer intricacy of it all."

In Walter's world, every one of his minutely detailed drawings of London (The Island, as he sees it) tells a story.

Culture 24, Avilable at: http://www.culture24.org.uk/art/painting+%26+drawing/art366017 [Accessed on 18th 0ct 2011 at 11.45]

Psychogeography

Psychogeography was defined in 1955 by Guy Debord as "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals."^[1] Another definition is "a whole toy box full of playful, inventive strategies for exploring cities...just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape."^[2]

1. ^ Introduction to a Critique of Urban Geography, 1955
2. ^ http://www.utne.com/pub/2004_124/promo/11262-1.html Joseph Hart, "A New Way of Walking," Utne Reader July/August 2004

Available at: http://en.wikipedia.org/wiki/Psychogeography [Accessed on 18th October 2011 at 11.15].