Psychogeography

Psychogeography

Interessante texto contando a histria da psicogeografia e relacionando com teorias ps-modernas e autores como Jameson, Baudrillard, Debord, Gibson, Zizek, o psychogeography in the 21st century, mostra como o movimento marca a poca contempornea e os atuais desenvolvimentos da cibercultura.

Hoje, artistas usando as “locative media” tm recuperado o conceito e tensionado suas dimenses fundamentais (cartografia cognitiva, uso das ruas, reverso do espetculo, deriva, mapeamentos…) acoplando experincias “psicogeogrficas” com o uso das tecnologias digitais, redes e sensores sem fio. O objetivo ir alm do uso meramente comercial ou militar das tecnologias de localizao e criar tenses e reforar ambiguidades: quais a dimenso poltica da mobilidade? quais os novos significados do territrio, do lugar e do espao em meio a redes sem fio e dispositivos mveis? quais as novas formas de vigilncia e monitoramento para alm do panptico das cmeras de vigilncia? como ressaltar aspectos sensveis (sociais, ambientais, polticos) e invisveis das cidades contemporneas? Vejam mais posts do Carnet sobre esta temtica.

Aqui um vdeo com debate sobre o tema, “Psychogeography: The Landscapes of Memory: Roundtable discussion with Andre Aciman, Vito Acconci, Russell Epstein, and Matthew von Unwerth.”


Ciberflanerie com escritas por GPS em Montreal

Algumas frases do texto do blog “paramodern studies”:

“Psychogeography is an aesthetic and political strategy discovered by the Surrealists and elaborated by postmodern avant-garde groups like the Lettristes, the Situationists, Tiqqun, and the London Psychogeographical Association (the LPA).”

“In Debord’s essay (…) psychogeography is defined 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.’ Debord claims that this idea originates with Ivan Chetcheglov, who he also credits as the inventor of the psychogeographical technique called the drive (or drift).”

“(…) Chetcheglov declares, ‘We are bored in the city, there is no longer any Temple of the Sun. Between the legs of the women walking by, the dadaists imagined a monkey wrench and the surrealists a crystal cup. Thats lost.’ Chetcheglov presents the drive as an aesthetic technique that reinvests the city with its lost identity or constitutive absence, and unveils the consumerist illusion for the magic trick or “phantasmagoria” (Walter Benjamin) it is.”

Vdeo sobre realidade do espao e psicogeorgrafia

“Psychogeographical research entails a new perception of the city made possible by various techniques like the drift that transforms the city into a series of “varied ambiences” with “contours, […] constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones.”

“The psychogeographical map, or affective map, is a hybrid of objective topography (surface features, the “representable”), and subjective topology (the real, subjective undercurrents or “vortexes” projected onto the surface).”

“The drifting subject follows a path or trajectory that transgresses the boundaries of consumerist space.”

“‘The spectator does not feel at home anywhere, because the spectacle is everywhere.’ The derive undermines the spectacle’s regime, which is essentially optical. The drift technique shifts perceptual emphasis from the optical to the proprioceptive (body consciousness, the sense of one’s physical presence).

“The function of the Situationist drift is to explore the other side of the spectacle, the unmediated (and traumatic) real veiled by the spectacle’s absolute objectivity, or mimetic resemblance to the real.”

“Gibson’s vision of the future is a more accurate map of contemporary urban space than any “objective” cartography. Postmodern reality is a fusion of the real, illusion, spectacle, fantasy, and simulation, so only a collagist technique like the literary one Gibson employs can represent it faithfully.”

“In his recent novel Spook Country (2007), Gibson draws on the contemporary psychogeographic practice of locative art to comment on the postmodern, global commercial space where psychogeographical space, or the unified ambiences studied by the Situationists, has been lost.”

“Gibson’s use of ubiquitous and wearable computing reminds us that the entire space of the postmodern subject’s reality (his or her umwelt) is in a sense a controlled surround a kind of prison cell that permanently envelops the body, like an aura. It is precisely what cannot be mapped yet it is under structural control.