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Psychogeography
Psychogeography is the exploration of urban environments that emphasizes interpersonal connections to places and arbitrary routes. It was developed by members of the Letterist International and Situationist International, which were revolutionary groups influenced by Marxist and anarchist theory as well as the attitudes and methods of Dadaists and Surrealists.
In 1955, Guy Debord defined psychogeography 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." The key tactic for exploring psychogeography is the loosely defined urban walking practice known as the dérive. As a practice and theory, psychogeography has influenced a broad set of cultural actors, including artists, activists and academics.
Psychogeography was originally developed by the Lettrist International 'around the summer of 1953'. Debord describes psychogeography as 'charmingly vague' and emphasises the importance of practice in psychogeographical explorations. The first published discussion of psychogeography was in the Lettrist journal Potlatch (1954), which included a 'Psychogeographical Game of the Week':
Depending on what you are after, choose an area, a more or less populous city, a more or less lively street. Build a house. Furnish it. Make the most of its decoration and surroundings. Choose the season and the time. Gather together the right people, the best records and drinks. Lighting and conversation must, of course, be appropriate, along with the weather and your memories. If your calculations are correct, you should find the outcome satisfying. (Please inform the editors of the results.)
The Lettrists' reimagining of the city has its precursors in aspects of Dadaism and Surrealism. The concept of the flâneur is also cited as an influence on the development of psychogeography.:3;18 Widely credited to Charles Baudelaire, who was influenced by Edgar Allan Poe's "The Man of the Crowd", it was further developed theoretically by Walter Benjamin.
Ivan Chtcheglov, in his highly influential[citation needed] 1953 essay "Formulaire pour un urbanisme nouveau" ("Formulary for a New Urbanism"), established many of the concepts that would inform the development of psychogeography. Forwarding a theory of unitary urbanism, Chtcheglov wrote "Architecture is the simplest means of articulating time and space, of modulating reality, of engendering dreams". Similarly, the Situationists found contemporary architecture both physically and ideologically restrictive, combining with outside cultural influence, effectively creating an undertow, and forcing oneself into a certain system of interaction with their environment: "[C]ities have a psychogeographical relief, with constant currents, fixed points and vortexes which strongly discourage entry into or exit from certain zones". Following Chtcheglov's exclusion from the Lettrists in 1954,[citation needed] Guy Debord and others worked to clarify the concept of unitary urbanism, in a bid to demand a revolutionary approach to architecture.[citation needed]
The Situationists' response was to create designs of new urbanized space, promising better opportunities for experimenting through mundane expression. Their intentions remained completely as abstractions. Guy Debord's truest intention was to unify two different factors of "ambiance" that, he felt, determined the values of the urban landscape: the soft ambiance — light, sound, time, the association of ideas — with the hard, the actual physical constructions. Debord's vision was a combination of the two realms of opposing ambiance, where the play of the soft ambiance was actively considered in the rendering of the hard. The new space creates a possibility for activity not formerly determined by one besides the individual.[citation needed]
At a conference in Cosio di Arroscia, Italy in 1956, the Lettrists joined the International Movement for an Imaginist Bauhaus to set a proper definition for the idea announced by Gil J. Wolman: "Unitary Urbanism - the synthesis of art and technology that we call for — must be constructed according to certain new values of life, values which now need to be distinguished and disseminated." It demanded the rejection of functional, Euclidean values in architecture, as well as the separation between art and its surroundings. The implication of combining these two negations is that by creating abstraction, one creates art, which, in turn, creates a point of distinction that unitary urbanism insists must be nullified. This confusion is also fundamental to the execution of unitary urbanism as it corrupts one's ability to identify where "function" ends and "play" (the "ludic") begins, resulting in what the Lettrist International and Situationist International believed to be a utopia where one was constantly exploring, free of determining factors.[citation needed]
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Psychogeography
Psychogeography is the exploration of urban environments that emphasizes interpersonal connections to places and arbitrary routes. It was developed by members of the Letterist International and Situationist International, which were revolutionary groups influenced by Marxist and anarchist theory as well as the attitudes and methods of Dadaists and Surrealists.
In 1955, Guy Debord defined psychogeography 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." The key tactic for exploring psychogeography is the loosely defined urban walking practice known as the dérive. As a practice and theory, psychogeography has influenced a broad set of cultural actors, including artists, activists and academics.
Psychogeography was originally developed by the Lettrist International 'around the summer of 1953'. Debord describes psychogeography as 'charmingly vague' and emphasises the importance of practice in psychogeographical explorations. The first published discussion of psychogeography was in the Lettrist journal Potlatch (1954), which included a 'Psychogeographical Game of the Week':
Depending on what you are after, choose an area, a more or less populous city, a more or less lively street. Build a house. Furnish it. Make the most of its decoration and surroundings. Choose the season and the time. Gather together the right people, the best records and drinks. Lighting and conversation must, of course, be appropriate, along with the weather and your memories. If your calculations are correct, you should find the outcome satisfying. (Please inform the editors of the results.)
The Lettrists' reimagining of the city has its precursors in aspects of Dadaism and Surrealism. The concept of the flâneur is also cited as an influence on the development of psychogeography.:3;18 Widely credited to Charles Baudelaire, who was influenced by Edgar Allan Poe's "The Man of the Crowd", it was further developed theoretically by Walter Benjamin.
Ivan Chtcheglov, in his highly influential[citation needed] 1953 essay "Formulaire pour un urbanisme nouveau" ("Formulary for a New Urbanism"), established many of the concepts that would inform the development of psychogeography. Forwarding a theory of unitary urbanism, Chtcheglov wrote "Architecture is the simplest means of articulating time and space, of modulating reality, of engendering dreams". Similarly, the Situationists found contemporary architecture both physically and ideologically restrictive, combining with outside cultural influence, effectively creating an undertow, and forcing oneself into a certain system of interaction with their environment: "[C]ities have a psychogeographical relief, with constant currents, fixed points and vortexes which strongly discourage entry into or exit from certain zones". Following Chtcheglov's exclusion from the Lettrists in 1954,[citation needed] Guy Debord and others worked to clarify the concept of unitary urbanism, in a bid to demand a revolutionary approach to architecture.[citation needed]
The Situationists' response was to create designs of new urbanized space, promising better opportunities for experimenting through mundane expression. Their intentions remained completely as abstractions. Guy Debord's truest intention was to unify two different factors of "ambiance" that, he felt, determined the values of the urban landscape: the soft ambiance — light, sound, time, the association of ideas — with the hard, the actual physical constructions. Debord's vision was a combination of the two realms of opposing ambiance, where the play of the soft ambiance was actively considered in the rendering of the hard. The new space creates a possibility for activity not formerly determined by one besides the individual.[citation needed]
At a conference in Cosio di Arroscia, Italy in 1956, the Lettrists joined the International Movement for an Imaginist Bauhaus to set a proper definition for the idea announced by Gil J. Wolman: "Unitary Urbanism - the synthesis of art and technology that we call for — must be constructed according to certain new values of life, values which now need to be distinguished and disseminated." It demanded the rejection of functional, Euclidean values in architecture, as well as the separation between art and its surroundings. The implication of combining these two negations is that by creating abstraction, one creates art, which, in turn, creates a point of distinction that unitary urbanism insists must be nullified. This confusion is also fundamental to the execution of unitary urbanism as it corrupts one's ability to identify where "function" ends and "play" (the "ludic") begins, resulting in what the Lettrist International and Situationist International believed to be a utopia where one was constantly exploring, free of determining factors.[citation needed]