Escolar Documentos
Profissional Documentos
Cultura Documentos
Simona Conti
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Table of contents
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Foreword
The main purpose of this paper is to understand and analyse what the concept of living and
communicating a city (and communicating in the city) is about. Lots of authors have treated
(and continue to treat) topics dealing with urbanism and its relationship with society and with
single individuals (or little group of them). They treated themes related to mapping the complex
and articulated space of a city, finding new ways of represent it, live the urban environment in
uncommon and surprising ways, etc What all these authors attempting such a discovering path
have in common is the purpose to extend the official and accepted meaning of “city”, enriching
it of aspects of unofficial, subjective and subversive. The common aim of all these authors’
research is to reshape the term itself of “city” to give it a new, opener and more inclusive
meaning. This attempt to discover new ways of thinking and consequently communicating a
city grows mainly out of the fact that a city isn’t a static, fixed and “one-way reading book”.
Instead it represents a pure block of clay that need to be modelled by citizens, tourists or just
passer-bys to acquire some significance. Society and mankind give sense to things especially
when they ‘inhabit’ them. Vice versa “without concrete spaces within which it is enacted, society
remains a meaningless abstraction” (Lefebvre, 1991). It represents a natural process we simply
can’t avoid: while wandering around a city, while discovering its “hidden places” or simply living
a urban space day-by-day, our mind naturally build a personal and subjective model of that city.
Several factors contribute to this complex and articulated process. The purpose of this paper is
to analyze some of those factors using a practical set of assignments I made during spring 2010
in the context of “Communicating (in) the city” course, that took place at the Department of
Aesthetic in Aarhus, Denmark. All of these assignments generated new perspectives around the
concept of “living and perceiving the urban space”. All of them together constitute a single,
complete set, a practical case study (whose main object is represented by Aarhus itself) rising
from and grounded in theory dealing with the re-conception of urban space.
I will try to explain what does psychogeography mean using terms like “hidden”, “hybrid”,
“.walk”, “audiowalk” and “mis-guide”, trying to constantly link practical assignments to a
theoretical background to generate an overall and inclusive new meaning of the cityscape.
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Psychogeography: creating a loose space through mapping activity
“Lacking officially assigned uses, leftover spaces and abandoned spaces lie outside the ‘rush and
flow’ as well as the control of regulations and surveillance that come with the established uses
of planned urban public space. [..] An abandoned railroad maintenance building in Denver
becomes and unofficial ‘museum of graffiti ‘ ” (Karen & Stevens , 2007: 8).
Karen & Sevens analyse an explain what could it mean for a public space to become loose and
how people can affect this transformation towards a wider and more inclusive interpretation.
They assume that people, through their active participation to public and shared landscape can
reinvent and re-conceive the space in new and more creative (and even non-official) ways.
“Looseness depends in part on the overall structure of the urban environment” (Karen & Stevens ,
2007: 6). Affordances offered by the urban space can be reinterpreted and re-used (or simply re-
conceived without being physically used) by people and elements intended for one purpose can
easily serve another. This kind of “re-thinking” the urban space is something that can actually
have a lot to do with the activity of mapping urban landscapes. Mapping is one of the main and
strongest strategy of fixing geographical/political/social elements and in a way also of “laying
down the law”. “Maps are preeminently a language of power” (Pinder, 1996: 405) and they have
been used during the centuries as a way of embedding particular “set power relations and
production and reproduction of social life”. Contrasting the common assumption of the
objectivity of cartography (often considered as an absolute and exact science), during the recent
years a critical literature on the power of maps has emerged. Cartography, according to Michel
Foucault, has to be considered as a form of power-knowledge and it involves the exercise of
power through its procedures of classifying , categorising, hierarchising, normalising and
disciplining and therefore they represent a “technology of power” (Pinder, 1996: 408-9).
In 1950s and 1960s, the Situationist International, a radical art and political group based in
Western Europe together with its avant-garde predecessors in the Lettrist International
developed a theory of “psychogeography” and “psychogeographical mapping”.
Psychogeography tries to surpass the concept of “cartographic objectivity” introducing the
wider concept of “subverting cartography” as a means of exploring and trying to edit the urban
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landscape to give it new meanings. This use of non-official ways of representing and drawing
the urban landscape enable the spread and the discover of new and hidden facets of a city.
Guy Debord, one of the most important member of the SI (Situationist International) avant-
garde group affirmed that the principal aim of the his group was to break out the conditioning
official cartography and to quest another use of the urban landscape.
Debord created five “psychogeographic maps of Paris”, whose titles were so fancy to
immediately distance them to ordinary cartography: “The naked city”, “Discours sur le passions
de l’amour” (also known as “Guide psychogéographique de Paris”), “Paris sur la niege”, “The
most dangerous game” and “Axe d’exploration et échec dans la recherche d’un Grand Passage
situationniste”. These representations of Paris looked more like tales and adventures than
cartographic representations. They were more about atmospheres, scenes and events than only
about streets and buildings (Pinder, 1996).
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“The fragments were plundered from existing plans of Paris through the process of détournement .
Along with the methods of psychogeography, this was another key tactic developed by the
lettrists and situationists in which objects, images or words were ripped out of their original
context and then juxtaposed – carefully and deliberately, not randomly – to create new meanings
and effects”. (Pinder, 1996: 419)
And as Debord defined it “the détournement is the reuse of preexisting artistic elements in a
new ensamble” (Debord, 1959: 67)
The artistic situationist strategy of détournement and the practice of the dérive were the logical
bases that inspire the creation of my personal and subjective map of Århus (see assignment 2,
appendix). The aim of this task was to make visible something invisible, to open to the most
(through the mapping process) hidden and secret spaces of the urban landscape. Broadly
speaking, “hidden” is to be intended as something that is invisible to the majority, something
that the official representation of the cityscape doesn’t show and in the most subjective
interpretation of the term, “hidden” is something that reside in our mind. Taken this as a general
assumption, my personal and subversive map of Århus let emerge a facet of the City to which I
normally pay a lot of attention: urban art and urban forms of expression that take form as
painted house façades, stickers, labels and whatever urban artists’ creativity could invent. My
purpose was to fix in a map something that embody my interests and meanwhile I attempted to
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create something that is both personal and interpersonal, something that expresses my
subjectivity but that could easily be used by anyone, anytime.
The result is a reasoned repository of urban art forms I ran into while wandering around Århus
during a freezing afternoon in February 2010. I divided such art expressions in different
categories (house façades, MorMor art, installations, paper crafts…). In doing this, my
subversive/subjective map of Århus as a public open museum, represents a form of discourse
which is actively involved in the social construction of reality.
Moreover, my personal representation of Århus could be part of the “everyday mappings” area
of critical cartography described by Crampton & Krygier as “whether performative, indigenous,
affective and experiential or narrative, (everyday mappings) creatively illuminate the role of
space in people’s lives by countering generalized and global perspectives” (Crampton & Krygier,
2006: 25).
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Fiona Raby, two researchers of London Royal College of Art, worked in a project concerning the
augmentation of space/reality through the discover of invisible territory of electromagnetic
fields (or “hertzian space” as Dunne called it): The Placebo project (see assignment 3, in
Appendix). Its main objective is exactly to create an hybrid space and to provoke and let people
think about something they often ignore, something that is not visible but that inhabit
continuously the surrounding space. The project consist of 8 placebo objects that react to the
presence of electromagnetic fields letting people see something that is apparently invisible. The
Placebo project define the Hertzian Space as a kind of hybrid space because, according to Usque
"[it] encourages us to think not of silent static structures that surround us but rather of fluid
dynamic fields beyond the edge of natural perception […]" (Usman Haque, 2004: 1).
Disclosing what is commonly hidden to human perception, Raby and Dunne dealt with lots of
aspects already treated by situationist theory: both the English researchers and the avant-garde
movement attempted to create new perspectives of the space that we inhabit, trying to surpass
official, common and superficial interpretations with uncommon, surprising and even bizarre
representations and reorganizations of reality.
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Through her audio-walks, the Canadian artist Janet Cardiff plays with sounds and voices to
investigate the “connection between the self and the city, between the conscious and the
unconscious, and between multiple selves and urban footsteps” (Pinder, 2001:1). Her audiowalks
create a layer that overlaps the urban geography and augment it, relating it with subjectivity,
memory and representation. In doing so she create Hybrid Spaces that contribute to the
enrichment of focuses and perspectives on the City. In assignment 4 (see Appendix) I reported
my personal discovery of one peculiar soundscape in Århus (a 30 sec soundbite): that of the
RisRas Fillianganggong pub in Mejlgade, sited in the dynamic latin quarter of Århus. This new
perspective of that particular place offered to me new ways of perceive it, live it and think of it.
At 18:30/19 of February 19th 2010, RisRas pub sonically appeared as a lively, cheerful and cozy lo-
fi soundscape!
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In assignment 5 (see in appendix), I was supposed to perform in group a .walk (or “algorithmic
walking”) in Århus and swap my .walk description with another group and perform their .walk.
The .walk project has been developed by Wilfred Hou Je Bek and the Dutch group Social Fiction
in 2003. “The classic version directs walking according to a pattern of turns such as ‘ first street
right, second street left, first street left and repeat’. […] Namely, the generative logic (of .walks)
remove questions of goals, choice and habit in terms of route and in so doing opens space for
surprise and the discovery of hidden significance” (Pinder, 2005: 397). What emerged from
the .walk I performed with my group is that, contrary to the dérive concept, which is by definition
freer and opener and subjected to will, the scripted space embodied in the .walk instructions
transformed us in something like the chess pieces of Neidhardt’s human scale chess. Anyway,
like in the dérive, the .walk made us discover hidden places we never noticed in Århus and we
where surprised to discover that some findings we made were noticed also by another group
that perform afterward our .walk. This convergence of interest points in the urban landscape is in
accordance to the definition of psychogeagraphy given by the situationist Guy Debord in 1955
as “the study of the effects of the geographic environment on the emotions and behaviours of
individuals”.
An Århus Mis-Guide
The final outcome of the course Communicating (in) the City 2010 has been a page that should
have contributed , together with the pages created to all the other students in the course, to an
Århus Mis-Guide (Assignment 6 in appendix). The main purpose of this final task was to
re‐interpret the Situationist practice in contemporary urban environments (particularly relating
to Århus ). The Mis-Guide concept was originally thought and developed by Wrights & Sites , a
performance collective of five artist-academics (Simon Persighetti, Cathy Turner, Stephen Hodge,
Phil Smith, Tony Weaver), based in Exeter, southwest UK.
“In 2003 a collaboration with the designer Tony Weaver led to the production of a quite beautiful
object, an alternative city guide book entitled An Exeter Mis-Guide. This promised to ‘give you the
ways to see the Exeters no one else has found yet’, incorporating among its 90 pages a ‘journey
in smell’, an ‘angry walk’, a ‘ walk for exhibitionists or reality-TV-show wannabes’ and a set of
‘touch tours’. (Wilkie, 2007:108)
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Then in 2006 the collective create a more general Mis-Guide, the so called “A misguide to
Anywhere”. Instructions here, as the title suggests, could be performed by readers in any place
of their choosing. My final concept page for an Århus Mis-Guide is that of “Tagging the city”, is to
say to leave pieces of paper with a thumb-up hand printed on it (which can easily be used as a
thumb-down/in whatever direction hand). They can be used as "I like it/I hate it/I (….) it" symbols
which can be enriched with comments or colours and put in any place of the city: on the table of
a pub, attached on a wall, in the shelves of a supermarket etc... These physical tags have the
potentiality to enhance and enlarge the comprhension of the city, to suggest something to
other citizens and tourists and to create a physical open/editable layered museum and archive
of thoughts and feelings in the urban landscape. Just like urban artists silently do
Conclusions
In this paper, I mainly tried to explain what was the aim of Situationists and their theory of
psychogeography. A set of assignments made during spring 2010 in the context of
Communicating (in) the City course, dpt. of Aesthetic, in Århus represented a way to practically
cover and explain many of the aspects of this theory. What Situationists attempted to do was to
create new perspectives on things and particularly on the perception and production of the
urban landscape, avoiding all sorts of official, pre-structured and rigid vision of the City. It is
impossible to think the urban space only one way, owning just one perspective on it. While
considering a city, we have to critically open our mind to a multi-perspective appropriation of
the space that embed history, politics, society and lots of others aspects. Waking through a city
following a set of weird instructions, paying attention to sounds, mapping the urban surface in
uncommon if not even bizarre ways, discovering hidden places, augmenting them and creating
hybrid spaces are just some ways I ran through (theoretically and practically) in this paper. The
clear refusal of what Debord called the passive “Society of Spectacle” represented by the
contemporary consumer culture and commodity fetishism, arose from the need to let people
actively engage in things, to have their own interpretation of the world and the space that they
inhabit. Having clear such a framework, an Århus Mis-Guide is a way to break the rules of the
known and accepted and to actively and critically rediscover the urban space of Århus.
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Bibliographic references:
Andersen, Christian Ulrik and Pold, Søren (2010). “The Scripted Spaces of Urban Ubiquitous
Computing”, (Aarhus, in press).
Crampton, Jeremy W. & John Krygier (2006), “An Introduction to Critical Cartography”, ACME: An
International E-Journal for Critical Geographies, 4 (1), 11-33
Debord, Guy-Ernest (1958) “Theory of the Dérive” in Ken Knabb (ed.), Situationist International
anthology (Berkeley, Calif.: Bureau of Public Secrets), 62-66
Debord, Guy-Ernest (1959), “Détournement as Negation and Prelude”, in Ken Knabb (ed.),
Situationist International anthology (Berkeley, Calif.: Bureau of Public Secrets), 67-68.
De Souza e Silva, Adriana (2006), “From Cyber to Hybrid: Mobile Technologies as Interfaces of
Hybrid Spaces”, Space and Culture, 9 (3), 261-78.
Franck, Karen A. and Stevens, Quentin (2007), “Tying down loose space”, in Karen A. Franck and
Quentin Stevens (eds.), Loose space: possibility and diversity in urban life (London: Routledge), 1-
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Lefebvre, Henri (1991), “The production of space” (Oxford, OX, UK ; Cambridge, Mass., USA:
Blackwell), pp 26-33.
Pinder, D. (1996), “Subverting cartography: the situationists and maps of the city”, Environment
and Planning A, 28 (3), 405-27.
Pinder, David (2001), “Ghostly Footsteps: Voices, Memories and Walks in the City”, Cultural
Geographies, 8 (1), 1-19.
Pinder, David (2005) “Arts of urban exploration”. In Cultural Geographies vol. 12, no. 4. SAGE, 383-
411
Schafer, R. Murray (1973), “The music of the environment”, Cultures, 1 (1), 15-51.
Wilkie, Fiona (2007) Review of "Mis-guide to Anywhere" PAJ: A Journal of Performance and Art.
PAJ 86 (Volume 29, Number 2), May 2007
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Appendix :
Portfolio
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Assignment 1
Create a wiki profile of yourself
Hej! I'm Simona Conti and I was born on 22nd june 1986 in
Arezzo, Tuscany…in the very heart of Italy!
Hej Hej!
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Assignment 2
Make a personal and subjective map of Århus
Being the artistic expressions spread all over the urban area one of
the main things I notice when I first visit a new city, I decided to
create a map of Århus based on this "hidden" (in the official
cartography and to the eyes of many people) realm. I'm a real
newcomer of Århus as I arrived here about two weeks ago (author’s
note: I first came to Århus at the end of January and the
assignment was to be made before the half of February). Therefore,
working for this assignment has represented a very good pretext to
discover this cold (to me, as an Italian citizen!) Scandinavian town
maintaining a critical and analytical look, but in the same time
leaving room to emotions and subjectivity.
There's no limit to art expressions. The real limit ‘inhabits’ our mind
whenever we seem not to notice such surprising and charming art
expressions (or even the sum of them).
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Her er Aarhus!
I've participated to Kultursyge photo competition (the core of the competition was to take some photos of hidden
places in Aarhus) simply sending the photos that I took to make my personal map of Aarhus. Those pictures where
shown at the "Her er Aarhus!" exhibition (25th march-11th april 2010) that showed the planned urban
transformation of Aarhus as a candidate city as 2017 European capital of culture (the exhibit was sited at the
Ridehuset, Vester Allé 1, Aarhus). One of my photos was also published in one of the brochure distributed at the
exhibition.
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Assignment 3
Find a place marked by a hybrid space
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Once electronic objects enter people's homes, they develop private lives, or at least ones that are hidden from
human vision. Occasionally we catch a glimpse of this life when objects interfere with each other, or malfunction.
Many people believe that mobile phones heat up their ears, or feel their skin tingle when they sit near a TV, and
almost everyone has heard stories of people picking up radio broadcasts in their fillings. Dunne and Raby are not
interested in whether these stories are true or scientific, they are interested in the narratives people develop to
explain and relate to electronic technologies, especially the invisible electromagnetic waves that electronic objects
emit.
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1.Parasite light
A light that feeds off the leaky radiation of household electronic products;
it only works when placed in electromagnetic fields, near an electronic
product. It uses an electric field sensor to relate the intensity of its function
(the amount of light emitted from 20 LEDs) to the strenght of field it senses.
2.Compass table
EM fields given off by electronic devices placed on the
table's surface (like mobile phones or laptop) cause the
25 compass needles to twitch and spin. This table
reminds you that electronic objects extend beyond
their visible limits.
3.Nipple chair
An electronic field sensor and an antenna are mounted beneath the
seat of the chair. Nodules embedded in the back of the chair vibrate
when the chair is placed in an electromagnetic field and the sitter is
made aware of the radio-waves penetrating his torso, reminding him
that electronic products extend beyond their visible limits. It is up to
him whether he stay and enjoy the gentle buzz or move to a 'quiter'
spot. As fields can also flow up through the sitter's body from electric
wiring running underneath the floor, the chair has footrests so that you
can isolate your feet from the ground.
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4.Electro-draught excluder
This object is a classic placebo. Strategic
positioning of this device helps deflect stray
electromagnetic fields. Though the draught
excluder is made from conductive foam, it is not
grounded and therefore it doesn't really absorb
radiation, but it creates a sort of shadow/barrier or
comfort zone away from EM waves where you can
simply feel better.
5.Loft
A place to keep precious objects safe from
electromagnetic fields.
6.GPS table
The table has a small display set in its surface which either shows the
word "lost" or its co-ordinates. It should be positioned by a clean
window with a clear view of the sky.
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7.Electricity drain
By sitting naked on a stool, accumulated electricity drains from the body
into the chair then out of the house through the earth pin of a special
plug.
8.Phone table
The mobile phone is given manners; the phone's ring is silenced when
it is placed inside the drawer and instead, the table top gently glows
green when the phone is called, such as, like Usque suggests, "flashing
stickers and accessories […] added to mobile phones [that] light up
when a call is made or received, […] consumer-friendly indicators of
increased electromagnetic intensity." (from "Invisible topographies", 2-
3, Usman Haque)
Here you can find some more info about the project
- http://www.interaction.rca.ac.uk:8080/people/staff/anthony-dunne/projects/project2.html
- http://www.dunneandraby.co.uk/content/projects/70/0
- http://www.designinginteractions.com/interviews/DunneandRaby
Bibliography:
- Dunne A., Raby F. (2001) "Design noir, the secret life of electronic objects" (Google book sample)
- Haque, Usman (2004), “Invisible Topographies”, Receiver
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Assignment 4
Find a place marked by a hybrid space and make an “audio-stand”. Find a place that you find
sonically interesting and communicate it to the rest of us in a soundbite; max 30 secs. It doesn't
have to be from Aarhus, but you could use this assignment as an opportunity to listen to the city
you currently live in.
I recorded this 30sec "audio-stand" in one of my favourite places in Aarhus, the "RisRas Fillionganggong" pub in
Mejilgade 24. It's an intimate, woodish, "patch-worked", warm place where people can relax and have one (or more)
beers. You can't order food inside, but you can bring your own (a kebab perhaps?)…I found this really exciting! I
went there (again) on Friday 19th march with two friends of mine, eating delicious muffins (just bought at the very
close "Jeremy" bakery shop in Mejlgade 27) and drinking liquorice teas. It was 18:30/19, so it was full of people
chatting, drinking beers and smoking narghilés, as usual…
Definitely feeling in a "hyggeride" place while there…I simply love it.
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Assignment 5
Create and perform a .walk and swamp your walk with another group
Our .walk:
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.walk performed on April 8th from 16.45 to 17:30
Here it is the map describing our .walk . Each coloured line defines one of the three strings of code:
- 1st string = pink line,
- 2nd string = blue line,
- 3rd string = green line.
We decided to start our walk from the very downtown (Ryesgade), in front of the railway station….
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…the code instructed us to turn right in Rosenkrantzgade…
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…we turned left in Fredensgade and there we saw a Vintage and SecondHand clothes shop that we never noticed
before that..really interesting :) …
…we crossed Sønder Allé, but we immediately heard some heels ticking on the street. We turned over 180° and
went back in Fredengsgade…
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…then we turned at the second street to the right: again Ryesgade! There we see the second "Å" in an advertising
along the street…
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…we heard some shoes heels ticking on the sidewalk near the AROS museum…tick tick…
…we went back and turned right in Park Allé and we….
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…saw again an "å" (lucky us?!)…
…then we turned left in Banegårdsgade and in few seconds we heard again some heels ticking on the pavement…
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…we turned back again…
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…immediately sighted an "å" in a pub menù…
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…and we walked straight on along the Scandinavian Center…
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…but we finally came at the end of Gebauersgade, in front of the railways…no way to go straight, no pretty woman
passing…This "system bug" ended our .walk after 45 minutes and almost 4 loops of code.
What do we do exactly?
Create and perform a .walk.
Swap your .walk description with another group and perform their .walk too
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We decided to start the a.walk from the corner between Immervad and Lille Torv (close to Magasin and 7Eleven).
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A cool statue we never seen before.
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The discovery of an other nice cafè.
1.We spent about 15 minutes going straight on Kystvejen because we couldn't hear heels ticking.
2.We entered in a loop walking from Kystvejen to Helgenægade and vice versa.About 10 minutes for 100 mt!
3.We passed through the Arkitektskolen Aarhus because we didn't hear heels ticking.
4.When we came out from the Arkitektskolen courtyard, we arrived in Paradisgade street. We were in front of Cafè
Paradis.
After 55 minutes, we couldn't hear that annoying sound, we couldn't go straight on, so we deicided to stop
and have a coffee in the ca
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Assignment 6
Create a mis-guide page that contribute to the creation of a full Mis-guide of Aarhus
1. 2. 3.
This subtle and subjective kind of space perception could enrich and augment each place. People could externalize
these impressions converting them into forms of public(/artistic?) expressions just by tagging the city and
adding little physical tags all around the urban landscape. Tags are simple and flexible (a thumb-up hand which
can easily be used as a thumb-down/in whatever direction hand) "I like it/I hate it/I (….) it" symbols which can be
enriched with comments or colours. They can enhance and enlarge our perspective of the city, suggest something
to other citizens and tourists and create a physical open/editable layered museum and archive of thoughts and
feelings. Just like urban artists silently do.
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My own "Communicating (in) the city" experience
Some final thoughts about the course:
1. What is your most memorable experience from this course? It could be with regards to readings, artworks
or your assignments.
I think to have 2 most memorable experiences from "Communicating (in) the City" course:
• The double performance of the .walk in Aarhus
• The snow performance (the one regarding how people subjectively map the space that surround them) made
during one of the first lessons of the course
2. Name the text that you liked the most (or that you learned most from)(or that provoked you the most).
Why?
“A misguide to Anywhere” by Fiona Walkie -> it has really been a pleasure to read it, especially after having
developed a good knowledge of “Communiting (in) the city” and urban perception/mapping/building. I have really
enjoyed it fully and to me, it represented a sort of summary of the whole course contents and a way to rethink on
issues touched during all the lectures.
3. Name one thing that you have learned from the readings (or, which text did you like the most). Why?
I especially loved (and consequently learned from) the SI theories about how to re-conceive a city and a urban
space: the "drift/dérive" situationist concept, the "situation" as a way to actively live and re-shape the places we
ordinarily walk through. These lectures explore something I've thought about for a long time, a lot time before
starting this course. I think to have always owned a good sensitivity towards the urban landscape and elements
connected to it: this sensitivity has let me fully understand and enjoy the themes treated during the course.
4. Which artwork/ artefact/ performance presented in class did you like the most (or provoked you the most).
Why?
Both the “Sound of Silence” listening performance (by experimental musician John Cage) and the subjective
mapping experience made in the Aesthetic dpt. courtyard, during the last snowy days of February. Both these
experiences have had a strong impact on my own way of rethinking something I’ve been always used to (subjective
mapping and sound/absence-of-sound listening) but without paying too much attention to them.
5. What was your reply to the assignments? List them all and think about how to present them – as a whole –
to the others; as a collection, what have they contributed to the course?
All my assignments can be found here-> http://communicity2010.wikidot.com/simona-conti
1. Presentation of myself
2. Creation of a subjective and personal map of Aarhus (in my case a representation of Aarhus as an open air
museum fulfilled with urban art)
3. Description of a hybrid space (in my case the "Placebo Project" by Tiny Dunne and Fiona Raby)
4. Making of an "audio-stand" (in my case a recording of noises and sounds of the central RisRas pub)
5. Creation of a .walk and (double) performance of two .walks through the city of Aarhus, following 3-lines
codes
6. Creation of a page of an Aarhus Mis-Guide (in my case, the concept of my page was "Tagging the city with
physical tags")
All my assignments are presented as a sequence of pieces that dialogue together and contribute to build a
"practical theory" of the thinking and re-thinking of the city of Aarhus and in general of any city. All these
assignments represent a way of "learning by doing" that made my knowledge stronger and open my perception of
the urban landscape. Moreover, my assignments as well as the ones of the other students enrich the contents of the
course using a peer-to-peer strategy that is really useful and has a lot of advantages (like finding out new and
"fresher" topics to treat)
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6. Which assignment do you find most in line with the course content? Why?
I think that the assignment “create a subjective map of the city" was one of the most in line with the course content.
It was a real way of let us all externalize and perceive the urban landscape as a new place to visit/live/understand.
The concept of "dérive" is in a way caged in everyone of us, but it is difficult to notice/methodologize it. The
accomplishment of that assignment represented a solution to this ingenuous lack of attention on things generally
perceived as secondary/not-relevant to us. It was a way to overturn canons and standard ways of looking to the city.
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