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Been Drawing posters seen stuck around manchester on google maps - Sebastian

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Updates :)

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Guide Cover Ideas

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Sketches and Ideas

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Aijing Kim Inspiration for Place Writing end product- add it as a freebee in the zine like the TV guides in newspapers

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Skyliner Magazine Inspiration for Place Writing end product

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these are some original poems Jane suggested I uploaded :)

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Mar 22, 2021 - Explore meganmorrjs's board "uni" on Pinterest.

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Ahead of the National Poetry Day on 28 September, we take a look at some of the top poets in Greater Manchester. Tony Walsh, known under the stage-name as Longfella, is one of the UK's most renowned and respected performance poets.

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design for screen printing uv workshop

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Psychogeography is more than the psychological effects of the urban environment, argues Maisie Ridgway. Here, she explains why the movement has become a political statement, a seizure of power and a joyous mode of play and discovery...
Second right, second right, first left, repeat. You'd be forgiven for thinking that these were simple directions to a final destination, instructions on a treasure map even, but you'd be mistaken. They're actually a gateway to something much more than 'X marks the spot'; in fact, the X that marks the spot has never been more irrelevant. The aforesaid instructions are not destination driven, they're psychogeographical rules applied in order to explore without direction so as to discover the cities that we've lived in for years. Romantic writers, Letterists, Situationists and modern writers have all played a part in the development of psychogeography.

In Situationist Guy Dubord 's 1955 essay Introduction to a Critique of Urban Geography, he defined psychogeography as "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals." Put simply, psychogeography is the exploration of the psychological effects of an urban environment. More than this though, it's a political statement, defiance of the capitalist system, a seizure of power and a mode of play.

Although psychogeography was not recognised as a term until the early 1950s, the idea has been around in literature for much longer, like in the poetic writings of Poe or Blake. Particularly interesting are Thomas De Quincey's autobiographical accounts from his work Confessions of an English Opium Eater (1886):

"I came suddenly upon such knotty problems of alleys, such enigmatical entries, and such sphinx's riddles of streets without thoroughfares"

''... Sometimes in my attempts to steer homewards, upon nautical principles, by fixing my eye on the pole-star, and seeking ambitiously for a north-west passage, instead of circumnavigating all the capes and head-lands I had doubled in my outward voyage, I came suddenly upon such knotty problems of alleys, such enigmatical entries, and such sphinx's riddles of streets without thoroughfares, as must, I conceive, baffle the audacity of porters and confound the intellects of hackney-coachmen. I could almost have believed at times that I must be the first discoverer of some of these terræ incognitæ, and doubted whether they had yet been laid down in the modern charts of London. ''

De Quincey describes using the stars to guide him home. Having no knowledge of celestial navigation he finds himself in unfamiliar territories, discovering what he believes are streets anonymous to maps, thus reimagining the city in his own eyes.

De Quincey's use of psychogeography inadvertently paints the action as an act of privilege, whereby those with disposable time and income can afford to wander the streets and discover their secrets. The political drive behind psychogeography became more apparent in the 1950s with the Situationists. The situationist movement were staunchly against what they called 'commodity fetishism' and invested in the anarchy of play as a mode that defied the capitalist system. One of these acts of play was psychogeography. Exercises typical of a situationist psychogeographer include using maps of different cities to navigate your own, cutting up maps and rearranging them, and the art of dérive or unplanned journeys.

But what relevance does psychogeography bear today? With the increased use of GPS or Google Maps it seems that we have become altogether more and less connected, with the digital world at our fingertips whilst the real world takes a back seat. Journalist and self-confessed pyschogeograher Will Self describes this as an alienation from 'the physical realities of our city', a notion that has both social and political implications, particularly for those that dwell in the Big Smoke.

Consider the dependence upon systems external to the individual mind or body to navigate space; becoming unaware, for example, of how we have reached our destination even during regular journeys because of a reliance on GPS. Debord goes further and suggests that cities are capitalist designs made to accommodate the increased sale of automobiles, and exploit the need to travel from A-B, thus the increased inability to navigate our surroundings individually contribute to the infiltration and dominance of capitalist culture.

Walking also has gendered implications. In her 2006 book Wanderlust, Rebecca Solnit writes about walking in San Francisco: "I was advised to stay indoors at night, to wear baggy clothes, to cover or cut my hair, to try to look like a man, to move someplace more expensive, to take taxis, to buy a car, to move in groups, to get a man to escort me - all modern versions of Greek walls and Assyrian veils." Thus she ascertained that "many women had been so successfully socialised to know their place that they had chosen more conservative, gregarious lives without realising why. The very desire to walk alone had been extinguished in them ..."

"Getting lost in a city is a sure fire way to learn how to get found again"

How then does walking aimlessly attempt to address these problems? Most apparent is the idea that getting lost in a city is a sure fire way to learn how to get found again. More than this though, walking is time spent outside of the realms of profit, one is neither working nor buying. This in itself opposes uniformity and is further reinforced by the creative and play aspects of psychogeography. Architectural theorist Robert Harbison says that: "To put a city in a book, to put the world on one sheet of paper - maps are the most condensed humanized spaces of all... They make the landscape fit indoors, make us masters of sights we can't see and spaces we can't cover." So, creating or manipulating maps in order to navigate space is a form of empowerment that allows autonomy over our environment and praises discovery over dictation.

In present day, the term psychogeography covers more than navigation, play and the city. Additional impetus is placed on one's capability to fulfil a journey. Self argues that a common example of a contemporary city dweller is one that is "is unable to experience being alone in place itself: not knowing where [they are], and too unfit to travel across appreciable portions of the city by [their] own motive power, [they are] condemned to a socialised spatial existence". The inability to travel a distance by foot is a stifling factor that contributes to a lack of personal empowerment.

There are, however, current examples of psychogeographers in action. Run Dem Crew is a community of runners founded by poet Charlie Dark. Their aim is to run fast, strong and far whilst exploring the city of London. Urban explorers also provide examples of modern psychogeographers who access prohibited spaces - like photographer Peter Costello - heaving forgotten urban landmarks back onto our maps. Psychogeography exists, and has existed in many forms but never has it seemed more relevant. In an increasingly apathetic society there is a need to revive the joys of discovery, play and self-empowerment. So have a ramble, take a walk, and get lost. The world's your oyster or whatever shellfish you want it to be.
Maisie Ridgway Read other TDN articles on psychogeography here Images, from top: Guy Debord 1957: Psychogeographic Guide of Paris. Wanderlust, Rebecca Solnit, Penguin Books (June 1, 2001)

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The Double Negative " An Introduction To Psychogeography

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Psychogeography is more than the psychological effects of the urban environment, argues Maisie Ridgway. Here, she explains why the movement has become a political statement, a seizure of power a

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- Anthony Vidler

Guy Debord (1931-1994), Guide psychogéographique de Paris. Discours sur les passions de l'amour, 1957. Lithograph, 595 × 735 mm. DMC 2302.

'But I must here, once and for all, inform you that all this will be more exactly delineated and explained in a map, now in the hands of the engraver ... not to swell the work ... but by way of commentary, scholium, illustration, and key to such passages, incidents, or innuendoes as shall be thought to be either of private interpretation, or of dark and doubtful meaning after my life and my opinions shall have been read over (no don't forget the meaning of the word) by all the world ...'

Guy Debord quoting Sterne, The Life and Opinions of Tristram Shandy [1]

For Guy Debord the problem and critique of modernist urbanism in itself drew on cartographic and photographic techniques, and even the 'evidence' put forward by planners themselves. On the one hand, this was the result of the entirely self-conscious strategy of détournement, of using the enemy's material against itself; but on the other hand, it also represented a kind of collusion based on a mix of nostalgia for the original aims of a modern urbanism - for what avant-garde urbanist did not dream of a unitary solution? - and a historical sense that alternative traditions, rooted in the seventeenth century conflict between Cartesians and Pascalians, had been suppressed. For Guy Debord, in particular, the maps, ideal and real, that traced the settlement of the earth, and the aerial photographs that viewed these settlements in all their three-dimensional complexity, were charged with more than their official origin. From the outset they acted as objects of memory, reflection, and strategic plans.

The dérive is a product, not of concentration, but of 'distraction,' a 'technique of displacement without any aim'. [2] Meynier describes the principles of mapping a territory, from the very local to the global, with detailed comparisons between aerial photography - images taken at oblique angles - and geometrical plans. Where the photograph 'taken at low height allows one to see all the details: number of houses, trees, railroads, roofs and limits of properties,' the map, at the same scale allows scale to be measured, but shows only a few details. [3] In this comparative method we can begin to see the germ of Debord's cartographic imagination - one that moves from aerial photographs to ideal maps, to his own constructions, with all the rigour of a precise détournement, one that preserves the fundamental roles of photographs and maps as guides, but now to a 'way' that has not been mapped before.

More directly, the effect of the Carte is manifested in the collage map of Paris constructed by Debord in 1956 under the title 'Guide psychogéographique de Paris,' and published in Denmark by Jorn in the series of the new 'Bauhaus Imaginiste.' Vincent Kaufmann has termed it 'another carte de Tendre (or more precisely the first one),' and pointed to the sub-title of the map: 'Discourse on the Passions of Love.' [4] This, of course, joins the map as a symbolic return to the celebrated essay, attributed to Pascal, and probably written between 1753 and 1754, also entitled Discours sur les passions de l'amour. [5] The distinction drawn by Pascal between geometrical and subtle minds, and those driven by ambition or by love, as well as his conclusion that youth should be driven by both love and finesse was evidently appealing to Debord, as was the idea of constructing his own version of the Carte de Tendre, delineating not the rivers towards Tenderness, but the 'psychogeographic slopes' traced by the urban dériveurs as they sought to define hitherto unknown territories according to the sense of their ambient unity.

Even more intriguing was the choice of the map of Paris, the pieces of which formed the collage. The 'Guide Psychogéographique' selected a bird's-eye view meticulously drawn by G. Peltier and published by Blondel la Rougery in 1951. Consciously modelled on the celebrated Turgot map of Paris (1739), it showed the city in perspective, at an angle roughly equal to the point of view established for the Carte de Tendre. This oblique view, as opposed to the geometrical survey of the map, offered a sense of place, space, and buildings analogous to the aerial photograph, allowing for the viewer an imaginary entry into the urban fabric. Indeed, in the same year Debord will go so far as to credit Chombart with the perception that an urban neighbourhood is defined by more than the sum of its geographical and economic factors, but also 'by the image that its inhabitants and those of other neighbourhoods have of it.' Data of this kind, noted Debord, were 'examples of a modern poetry capable of provoking sharp emotional reactions.' [6]
Notes
1. Guy Debord, Panegyric Volumes I and 2, trans. James Brook and John McHale (London: Verso, 2004), p. 167.

2. G.-E. Debord, Jacques Fillon, 'Résumé 1954,' Potlatch 14 (30 November, 1954), p. 53.

3. Géographie, p. 22.

4. Vincent Kaufmann, Guy Debord: La révolution au service de la poésie (Paris: Fayard, 2001), p. 160.

5. Pascal, Blaise (attrib.), Discours sur les passions de l'amour (1652-1653) ed. S. Pestel for the electronic collection of the Bibliothèque Municipale de Lisieux (27.X.1999), on the basis of the edition edited by Jacques Haumont (Paris, 1940) : http://www.bmlisieux.com/

6. Guy Debord, 'Theory of the Dérive,' in Liero Andreotti and Xavier Costa, eds., Theory of the Dérive and Other Situationist Writings on the City (Barcelona: Museum of Contemporary Art of Barcelona, 1996), p. 22. The original article, 'Théorie de la dérive,' was published in Les Lèvres Nues no. 8, 1956, and was reprinted in Internationale Situationiste no. 2 (December 1958), pp. 19-23.

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'But I must here, once and for all, inform you that all this will be more exactly delineated and explained in a map, now in the hands of the engraver ... not to swell the work ... but by way of commentary, scholium, illustration, and key to such passages, incidents,...

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A Psychogeographic Guide to Paris ...

Guy Debord’s ‘Guide psychogéographique de Paris […]’ is a détourned map of Paris in which Debord depicts a pyschogeographic guide to Paris through dérive.

Debord collages sections of a Paris map, isolating unified local areas and positioning them in relation to each other. This lithographic work uses orange/red arrows to indicate these relationships. The orange/red colour is also used in the graphic element across the right edge of the image, which establishes the piece as cartographic.

The work explores the relationship between local areas in Paris

Psychogeographic Guide of Paris: Discourse on the Passions of Love. Psychogeographic Descents of Drifting and Localisation of Ambient Unities.

Debord, G. (1957) Guide psychogéographique de Paris: discours sur les passions de l'amour: pentes psychogéographiques de la dérive et localisation d'unités d'ambiance [Lithograph]. MACBA, Barcelona.

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Looking at previous images I have taken in Manchester in the Northern Quarter. I found that there is a zine quality to the layering of posters in the northern quarter

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The Attraction of Familiarity

Summary wise just how familiarity may affect choices such as in our case one looks more like our park at home more likely to go left to it than right.

https://www.jstor.org/stable/e26572820?refreqid=excelsior%3A81c7169dab4aaa7a0c0e5592825a1258

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To create your own derive you could just walk around the city and get lost on your own or with others.

You could use an algorithm to help you get lost more effectively!

Apply the following simple algorithm at each junction: 1, 3, 2.

1= left

2=right

3=straight ahead

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Guy Debord defined the derive walk as "a technique of rapid passage through varied ambiances". us to suspend our habitual functional ways of moving through (usually) urban landscape and experience disorientation.

Situationists practiced the derive in order to understand what was happening to the city and ultimately liberate us from everyday life. They were particularly concerned about the encroachment of capital on city spaces and the coercive power of the spectacle to manufacture desires which bind us into capitalist consumption.

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Idea for a walk: tele-walk in 2 European Cities at the same time

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Idea for a walk: tele-walk in 2 European Cities at the same time

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Collection of Walking Practice Resources 

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Collection of Walking Practice Resources 

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please add to this list and invent your own!

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http://www.bopsecrets.org/SI/2.derive.htm

other texts by Guy Debord and other Situationists are here

http://www.bopsecrets.org/SI/index.htm

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Found this book whilst browsing the web might be worth a read ?!

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vintage recipes and food drawings

ugly

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inspo continuing from last unit

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Bonk Business Inc. is a fictional industrial corporation, realized as a multidisciplinary art project between 1988 and 2000. The project includes machine sculptures, photographs, graphic design and a written concept. Bonk has been widely exhibited in major art museums and festivals internationally. Based on an idea I had in 1988, while still at the Art Academy, the concept was developed in collaboration with Richard Stanley, who wrote the history, the captions and most of the copy. The machines were co-designed with Henrik Helpiö, who carried out their realization, with the exception of the early ones which I built myself. The photographers involved are Magnus Weckström, Magnus Scharmanoff and Olli Lehtinen. Graphic design by your humble servant.

"Bonk Business Inc. is a multiglobal industrial giant pioneering Third Millennium technologies such as LBH (Localized Black Holes), ADS (Advanced Disinformation Systems), Cosmic Therapy and Defunctionalized Machinery. The roots of the company lie over a century ago in Finland, with the discovery of Anchovy Oil - which greased the frozen wheels of Nordic industry in the 19th century."

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Bonk Business Inc. is a fictional industrial corporation, realized as a multidisciplinary art project between 1988 and 2000. The project includes machine sculptures, photographs, graphic design and a written concept. Bonk has been widely exhibited in major art museums and festivals internationally.

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Thinking about nonplaces and how they affect our routes and memories

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ian curtis mural

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Ian Curtis mural unveiled in Manchester's Northern Quarter _ ITV News

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I hope this will be a shared -or even better student run space- to support, provoke and challenge you while you develop your unit x work...no need to ask permission, get posting!

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I hope this will be a shared -or even better student run space- to support, provoke and challenge you while you develop your unit x work...no need to ask permission, get posting!

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Also by Solnit

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Wanderlust: A History of Walking by Rebecca Solnit

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Wanderlust: A History of Walking by Rebecca Solnit

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is a good read & great intro to why walking matters
available in MMU library

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Please share your top resources here!

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is a good start for unit x! What principles or demands do you want to share?