Wednesday, 29 October 2014

The New Psychogeography - Update


I had originally planned to do a series of blogs following on from my first blog on The New Psychogeography, but since then I’ve decided to make the whole final chapter of Walking Inside Out about the new psychogeography instead of turning these blogs into an article. The first blog sparked a lot of discussion online, a considerable amount of hits and, also, the related slides from the Huddersfield lecture, that this all stems from, has been downloaded a number of times on academia.edu.

So instead, I am posting some of the original section on the new psychogeography from the first draft of the introduction to the book. I’m afraid you will have to wait for the book to be published to see the full concluding chapter which will now be dedicated to ‘The New Psychogeography’. I really appreciate all the input and discussion, etc – thank you.

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In 2002 Iain Sinclair said of psychogeography that "the next step is to bury it completely! Let it go and let it re-emerge. I think it needs 15 years to gain some new energy, as I think this energy is rapidly running out" (cited in Pilkington and Baker 2002, 7). Since we are now fast-approaching the end of Sinclair's 15 year embargo, perhaps this is a salient moment to begin to discuss psychogeography again in a critical way, and take a serious look at the work being carried out in the field. I hope this text contributes to this discussion. At the same time I appreciate criticisms of the academisation of psychogeography might be levelled at this volume, but since I am oriented in academia and my field is psychogeography, it is impossible to do the work itself without being caught in this trap. Sinclair further comments on this problem when discussing the work Stewart Home did with the London Psychogeographical Association: “Stewart Home says that the LPA deliberately mystified and irrationalised their psychogeograhical ideas in order to prevent them from being academicised in the future. But they inevitably will be because Stewart himself is a sort of rogue academic, so it's self-contradictory in some ways. By doing it, it becomes part of this machinery in talks and interviews.” (cited in Pilkington and Baker 2002, 3).

But, nevertheless, Sinclair is in praise of walking itself despite his concerns with the term psychogeography. One thing that many walkers are preoccupied with, from activists to The Ramblers, is not just the marginalisation of our public spaces, but the marginalisation of the very act of walking itself. As Sinclair says in an interview in the Ramblers own publication: "We're at the bottom of the food chain and the day will come when we'll have the equivalent of bike lanes: a narrow suicide strip chucked in among the traffic. We'll have to have ghost walkers, like the white ghost bikes you see to commemorate dead cyclists" (2012, 98). So, it seems, psychogeographers perhaps do have more in common than can be expressed in their differences.

In The Art of Wandering: The Writer as Walker (2012) Merlin Coverley includes a chapter on ‘The Return of the Walker’. Situating the preceding 30 years within a literary tradition that is also reflected in the creative arts, he finishes his closing chapter with Nick Papadimitriou, whose rise in popularity followed Coverley’s previous book. Walking Inside Out presents the work of some of the contemporary literary psychogeographers alongside those working in academia, thus bridging the gap which means these texts are commonly presented to different audiences, but also demonstrating the inherent value to academia of the ‘creative’ psychogeographical account. On May 1 2014 the BBC online news magazine published an article by Finlo Rohrer ‘The Slow Death of Purposeless Walking’, which is posed rather more as a question than a statement and alludes to the number of recently published books in the field. While his article was not about psychogeographer per se, it provided walking tips to the novice, some of which supported and some of which countered psychogeographical practices in the broadest sense. But despite this, it is an encouragement to walk and one of the tips that is common to ‘purposeless walking’ and psychogeography is to “walk mindfully” (Rohrer 2014). This mindfulness will be apparent from the chapters of the book.

The beauty of the inexact art that is psychogeography, appearing in the innumerable forms that it has and continues to, attests to the durability and relevance of it still. It can be crafted, manipulated and even re-appropriated to suit your particular needs. It can be carried out fundamentally, creatively or ironically. And it can be picked up and put down like a handy tool that helps you metaphorically whittle away the parts of urban space of which you disapprove, rather like the SI did with their maps. Psychogeography is continually being reworked, reflected upon and reimagined. It has the ability to absorb the urban space in which it occupies, situate itself socio-politically and creatively employ innumerable tools in order to express itself.

Bibliography:
Pilkington, Mark and Phil Baker. "City Brain." Fortean Times, 2002.
Rohrer, Finlo. "The Slow Death of Purposeless Walking." In BBC News Magazine, 2014.
Sinclair, Iain. "My Perfect Day: Iain Sinclair." Walk: Magazine of the Ramblers, 2012, 98.

Monday, 13 October 2014

The New Psychogeography


At the beginning of October I was kindly invited by Dr. Rowan Bailey to give a lecture to the Art, Design and Architecture MA students at the University of Huddersfield. My spec involved incorporating psychogeography into theoretical approaches to the postmodern city and, in particular, my own research in this area. So I got to thinking more about a section in the upcoming edited volume that I’m working on – Walking Inside Out: Contemporary British Psychogeography – that I had entitled ‘The New Psychogeography’ and decided to include that in the title of the lecture: ‘Postmodern Urbanism and the New Psychogeography’ (if you want to see the lecture slides properly, it is better to download them than scroll through due to the animation).

This got me thinking a bit more about what I think ‘the new psychogeography’ might look like, so following discussions with two other interested contemporary psychogeographers (Phil Smith and Alex Bridger), one of whom is also working on something similar, I came up with the following slide as part of the lecture:


I realise this slide might seem prescriptive – hence my caveat – but it is difficult, in a deconstructionist way, to say what something is without saying what it isn’t, and vice versa. So I have tried not to set these themes up in a dialectical way i.e. not against each other in the table. Also, during the actual lecture I was able to qualify what these motifs represent more fully, which I intend to address in future blogs. So what I am actual doing here, rather, is throwing this out in order to spark some discussion, while working on this more fully in my ‘spare time’. I plan to turn this into a fully fleshed-out article at some point in the future.

I’d just like to add, I don’t see this as a distinct break in any way, more a turn, a gentle movement towards something else. Also, my use of the term ‘post-Sinclairian’ is based on an email conversation I had with Iain Sinclair, so it is not a pejorative term levelled at him. I have a lot of respect for him and in the upcoming volume I describe as “the Godfather of contemporary psychogeography”. In our email exchange Sinclair said, and I paraphrase, ‘it is time for a young group of urban walkers to pick up the mantel of psychogeography and do something new with it’.

This is not intended as a pretentious exercise that reflects the overblown aspirations of a ‘new psychogeographer’. It is meant as a way of reflecting a moment in time where some sort of cultural – and politically reflected (maybe) – shift is occurring in the field. This is based on many conversations I have had with people over the past few years who believe there is a current resurgence of psychogeography – some were psychogeographers and some were not. And, since I am originally a cultural theorist, I understand that these ‘moments’ have reasons for coming into being when they do and this means they can be analysed contextually. In order to do that we need to recognise it and label it in some way so that we can discuss it, even if that labelling sits uncomfortably within psychogeography itself.

I do appreciate I am being a bit cheeky by attempting to name it: ‘Who do you think you are?’, you might be thinking. But, I am approaching it in both a serious and light-hearted way, as my opening words to the students at Huddersfield reflect: “I’d just like you all to know that you are the first people in the world to be introduced officially to the term ‘the new psychogeography’. When I am famous, or dead, you can all say ‘I was there the first time the phrase was officially mentioned!’”

Please feel free to join the discussion. As well as the motifs that appear on the slide above, in future blogs I will be exploring the following issues/themes:

Why the name ‘the new psychogeography’?
Does naming it go against what psychogeography is?
What about the issue of the academicisation of psychogeography?

Related links:
Schizocartograpphy
Mythogeography
Psychogeography and Feminist Methodology

Monday, 6 October 2014

On Walking . . . and Women


While I’m a psychogeographer and female, I don’t classify myself as a feminist psychogeographer per se. This doesn’t mean I don’t carry out a feminist psychogeography but rather that I don’t use feminist theory directly in the analysis of my practice or the urban spaces I explore. It is my intention to address this at some point in the future (and I have been thinking about looking at in relation to ‘dress’ and/or ‘safety’). However, in the meantime I would like to draw your attention to Phil Smith’s latest book On Walking...and Stalking Sebald (Triarchy Press 2014) and his chapter ‘Women and Walking’.

Smith opens ‘Women and Walking’ with this quote: “This is the big one around walking – so obvious and banal. And out of it and around it and if we grasp the centrality of it, then everything else can come from it” (p.160). This reminds me of the opening of my undergraduate module on deconstruction where the lecturer said, and I paraphrase: “All binary oppositions ultimately originate from female/male”. Therefore, understanding this dichotomy/dialectic is a fundamental one which helps explain how other work – which is what Smith is also saying about women and walking.


Smith’s chapter is very sympathetic to the woman walker, but not patronising. His experience of walking with hundreds of different people enable him to consider how space, and the culture and powers that influence it, operate on individuals. He quotes Dee Heddon and Cathy Turner’s essay ‘Walking Women: Shifting the Tales and Scales of Mobility’ where they discuss the absence of the female psychogeographer in postmodern urban space. He challenges this by citing a number of contemporary women psychogeographers, including myself and Morag Rose. However, he acknowledges that urban space has historically been the domain of the male, even though a shift is now occurring towards a feminist psychogeography.

Smith concludes: “Walking needs to put its own house in order, identifying those gross prejudices that it has inherited from its romantic traditions [and] until women are free to walk wherever they choose and without fear, any so-called ‘high enjoyment of going on a journey’ [Robert Cortes Holliday] will continue to be a reactionary illusion, a fluid prison in which some are more stuck than others” (p.164).

More of Phil Smith’s work: Mythogeography

Links to the work of female/feminist psychogeographers:
Morag Rose
Dee Heddon and Cathy Turner
Alex Bridger
Tina Richardson

Friday, 5 September 2014

Walking Inside Out: Contemporary British Psychogeography


The first draft of Walking Inside Out has been submitted to the editors/publishers at Rowman and Littlefield International, so I have an update on the sections and chapters. If you would like to keep abreast of the book on twitter, please search for #walkinginsideout and/or follow me at @concretepost Thank you.

The Walker and the Urban Landscape looks at visual urban phenomenon from public sculptures to pavements. Concentrating on the appearance of the urban landscape, and how walking with a critical eye opens up the spaces in which we live and move, these essays draw our attention to both the aesthetics of spatial manifestation and the minutiae that can be easily overlooked on a casual stroll.

Roy Bayfield’s reflective walk, taken with a colleague, is set in Merseyside. His account provides an excellent example of a walking-based narrative. Bayfield responds subjectively to the landscape, including affective cues alongside contemporary politico-cultural references sparked by the phenomenon encountered. He weaves filmic, literary and geographical references together, producing a first-hand description of his walk from Crosby Beach to Edge Hill University.

Ian Marchant’s contribution comes from the field of creative writing and covers a walk in his hometown of Presteigne. Marchant ruminates on walking literature, and questions the label of ‘psychogeographer’, while making observations on the town he knows so well. The chapter includes personal references to the author’s life, historical information on Presteigne and commentary on his fellow townfolk. In a writerly way Marchant brings to life a walk that he takes with his dog every day and demonstrates how urban walking can becomes a reflexive tool, but also how creative writing can bring a place to life.

Luke Bennett’s chapter takes an analytical view of the work of the deep topographer Nick Papadimitriou. By highlighting passages from Papadimitrou’s Scarp, Bennett teases out conjunctions that arise in relation to the law and the built environment. Originally from a legal background, he uses his knowledge to bring a different perspective to urban walking, for example, by looking at public policy and geography in relation to Papadimitriou’s descriptions of the Middlesex landscape. Bennett’s essay references theorists from the field of geography, psychogeography and cultural studies, foregrounding both the landscape and the text of Papadimitriou’s from the perspective of someone who can see beyond the surface of space to the policy decision-making that lies beneath.

One of the ways past psychogeographical accounts have been used is to understand the aesthetics of a particular city at a specific moment in time. In Memory, Historicity, Time the essays deal with explorations and knowledge of the cityscape (in the past and today), by examining personalised accounts and histories. They reflect on how space is mapped out and how it is connected to memory, nostalgia, culture and geography.

In his essay Alastair Bonnett introduces the Situationists, and the way nostalgia influenced the creative aspect of their critique of the spectacle, in order to explore the memory of place for ex-residents of Tyneside. He discusses his interviews with the group and their issues with the modernisation of urban space in the way it affects them. Bonnett’s text includes qualitative research in the form of individual testaments and discussion on memory map-making. Situated within a psychogeographical framework, his essay also references Sinclair and the magico-Marxist work of Home, demonstrating that nostalgia is not necessarily a negative response.

Phil Wood uses the walks he has taken in Lviv and Odessa to explore the concepts of memory, trauma and loss. Drawing on his relationships with people from the region, and the friendships he has developed, he introduces fictional characters in order to explore the concept of amnesia and spectrality in urban space. The author uses deconstruction to highlight concepts around haunting and the visible/invisible. The historical and contemporary politics of the region is woven into the account to produce an essay which is both creative non-fiction and theoretical in its form.

Merlin Coverley situates the work of the Welsh author Arthur Machen within contemporary psychogeographical debate. By introducing the work of Sinclair and Self, Coverley fleshes out how the act of wandering was for Machen and reveals some of the tensions that psychogeography incorporates. He discusses Machen’s walks in London, his purpose for walking and the influence of the flâneurs, making reference to specific regions of London in regards to Machen’s texts. The essay elucidates two ‘fields’ of psychogeography: the Situationist strand and that of Earth Mystery. Coverley situates Machen within a psychogeographical lineage, in particular that of De Quincey and the North-West Passage, bringing a historical element to the volume.

Gareth E. Rees uses the urban phenomena of memorial benches as a way of exploring the themes of memory, memorabilia and the landscape. The author includes fictional dialogue and a storyline to fill in the gaps in what he perceives might be the lives of the people memorialised on the benches. Rees adds moments from his own life which are sparked by the aesthetics of the terrain, in particular the protagonist of the essay, his childhood friend Mike. This poignant and witty essay reflects the creative aspect of urban walking and the author demonstrates how the affective response to space can be used to produce a literary text.

Looking at psychogeography from the differing perspectives of a community artist and an academic researcher, the two essays in Power and Place discuss how urban walking can be used in an activist way through the insertion of the body into socio-political space. By demonstrating how psychogeography can become an intervention once applied to the modus operandi of a specific group, these authors explore and critique the way collectives of individuals can challenge dominant power structures through the act of walking. Analysing the more anarchic nature of psychogeography, today and in the past, these texts offer specific case studies so as to critique their efficacy as a means of radical political engagement and social change.

Christopher Collier’s chapter foregrounds this section by providing the historic background of the Situationist’s project of psychogeography within a framework of ontology and deconstruction. This academic essay examines the literary heritage of psychogeography and the problem of seeing its critical origins as being solely located in 1950s Europe. The chapter discusses the problematic of the term ‘psychogeography’, introducing contemporary psychogeographers to explore some of the ideas related to its (mis)use, appropriation and circulation. It discusses both the 1990s and the current resurgence of the practice and includes many useful examples and practitioners.

As the organiser of the Loiterers’ Resistance Movement (LRM), Morag Rose provides a personal overview of the origins and aims of the group within the context of her own experience as an anarcho-flâneuse. The author discuses concepts such as diversity and democracy within the LRM, offering her essay in a journal format in order to introduce the practice of walking as it is for the group. Rose demonstrates the passion some individuals have for city life and how this can be expressed through engaging with it on a very concrete level. She believes psychogeographical practices should be made accessible to anyone who is interested and that engaging with your city can be ludic and political at the same time.

By examining the walking and spatial practices of individuals who specialise in psychogeography as a critical methodology, the essays in Practicing Psychogeography/Psychogeographical Practices look at how it can be used as a tool and developed in particular ways so as to offer the practice as an analytical device. The urban walkers represented here have worked through their walking strategies and created their own specific type of urban walking. These customised psychogeographies suit the individual requirements of the practitioners, enabling them to analyse the city in a very specific way. The first two essays deal with the formulation of psychogeography as a methodology, while the last one looks at the various aspects of setting up a walk for the purposes of research.

In his chapter Smith provides the background to mythogeography, explaining how it emerged and developed over time. He compares mythogeography to historical walking practices such as that of the SI, and introduces many useful contemporary references. This reflective and critical chapter describes the evolution of a walking practice which has changed over time, providing examples of the walks and collectives involved. The essay also includes a useful discussion on the de-politicisation of psychogeography.

I developed my own form of urban walking critique at the beginning of my PhD. Required to create a methodology that would stand up to academic rigour, I used the psychogeographical practices of the SI to underpin my own approach which I call ‘schizocartography’. Incorporating psychogeography alongside a Marxist-oriented and poststructuralist analysis of space, I use Félix Guattari’s theory on critiquing the institution of psychiatry, and his work in Brazil, to develop schizocartography as a spatial tool. Schizocartography is a process that, while analysing the space under review, looks for the plurivocality presented there, offering counter events that might be occurring behind the veil of the everyday and that challenge the dominant representation of that space.

Victoria Henshaw specialises in sensory walking and has developed it as a methodology that provides qualitative research on the city. Her essay discusses the implications of organising sensory walks in regard to selecting sites, route selection and research data. Henshaw introduces the smellwalks she has carried out in Doncaster and with the Smell and the City Project, explaining the suitability of particular cities for research and the practical considerations for leading the walks themselves. The more formal science-based writing style of Henshaw’s essay (and Bonnett’s mentioned above) compliment the more ‘relaxed’ style of the creative-writing aesthetic of the psychogeographical accounts in the volume.

The contributions in Outsider Psychogeography do not sit within the usual arts-based humanities walking practices previously discussed. Here the authors use the interdisciplinarity of psychogeography within their own academic field in creative and constructive ways in order to introduce it to a discipline that might otherwise not consider it a standard practice. These essays look at how psychogeography can be used within the social sciences as a way of helping individuals via a direct engagement with urban space. The essays also open discussion on the value of psychogeography in its acknowledgement as an affective methodology.

Andrea Capstick, a lecturer in Dementia Studies, looks at remembering and amnesia in dementia patients and their ‘wandering’ narratives around a sense of place, such as getting physically lost and the act of forgetting. The author takes a spatio-temporal look at walking, place and the past, connecting ‘signposts’ that take the form of real events and places, to the patient’s narrative as a way of validating and understanding them better. This chapter brings social science, walking-based literature, philosophy, social history and psychogeography together. The essay includes qualitative research in the form of walking interviews and the author’s own research in verifying the validity of the participant’s memory of place.

Alexander John Bridger discusses the issues around using psychogeography within a predominantly behavioural/cognitive (and sometimes reductionist) discipline such as psychology. The author provides his own examples of walks and drift methodology to elucidate people’s experience in relation to their environment so as to examine the concept of détournement and to open discussion on mobile-methods research. Bridger attempts to introduce psychogeography within his own discipline as a way of helping other’s understand their spatial environment and therefore help them realise their lived experience more fully. He introduces references from his own field, and that of urban walking and spatial critique, so as to champion psychogeography in a discipline where it might be disregarded because of being considered ‘unscientific’.

Related links:
Walking Inside Out – Summary
My Name is Tina and I’m a Psychogeographer: Situating the Addictions and Abuses of Psychogeography Today

Saturday, 30 August 2014

The Park Tower Knightsbridge: Corn-on-the-Cob


While at the Royal Geographical Society this week, I went for a stroll over to Knightsbridge and discovered another one of Richard Siefert’s buildings: The Park Tower (1973). Originally the Sheraton Park Tower (and previously the Skyline Park Tower Hotel) it is compared to Elmbank Gardens in Glasgow (according to Wikipedia), but how they could not compare it to One Kemble Street in Holborn is a serious oversight.


Park Tower was renovated in 2013 and the Hyde Park Penthouse Suite sells at £7,200/night in this brutalist hotel. You pay extra for your own butler. The cheapest room I could find was £319.
Centre Point is often considered to be Seifert’s most famous building, but it’s Tower 42 that’s actually my favourite London building. A few of his buildings have been demolished in recent times, Wembley Conference Centre, for instance.

On www.postwarbuildings.com it describes The Park Tower thus:
The building consists of a 15-storey rotunda housing 300 bedrooms, on a two-storey podium containing bars, a lobby and reception areas. The tower is formed of a reinforced-concrete service core, around which rooms are massed on a frame supported by pilotis at podium level. The most distinctive feature of the Park Tower is the façade treatment of the rotunda. Likened by Charles Jencks to corn-on-the-cob, each of the twenty rooms per floor, is articulated by a projecting bay window and clad in ochre mosaic. This gives the building an extremely tactile surface, while the rhythm of the windows goes some way to alleviating the bulk and emphasizing the vertical. This cellular façade treatment was a particularly Seifert architectural device and many of his buildings share this motif.

Relates blogs:
Negotiating Brutalist Space at the University of Leeds
Brutalist Access Points and Disappeared Stationers

Thursday, 14 August 2014

‘Lose Yourself in Melbourne’

The Psychogeography of Urban Architecture by David Prescott-Steed


I’ve recently read the above book by sound artist and urban explorer David Prescott-Steed (Academy of Design, Melbourne). It has the informal writing style of psychogeographical texts that originate from creative writing rather than academia, which I really liked.

I especially enjoyed the introduction, which is rather more a wander through Melbourne than an actual introduction to the book, but the better for it. I’m going to include one paragraph of the introduction which mentions an advert for the city of Melbourne and include the link to the film itself
Lose Yourself in Melbourne.

“While the endless movement of the city shows it to be a place of many motivations and meanings, the Lose Yourself in Melbourne advertisement asks the viewer forget about all of these familiar patterns with which they might experience the city, such as where they involve our engagement in shopping or working. It invites the viewer, you and me, to let down our guard; to loosen up by letting go of preconceived, city-based goals. It wants us to sweep aside all of these conceivably routine or boring things. It invites us, instead, to simply ‘make it all up’ as we go along. When I first saw this advertisement, it was if it was asking: ‘Why get so consumed in all of the routine? The city is your built environment, of course. But why not use it for playing in? Why not embrace your opportunity to improvise everyday life? Quite literally, this is a chance to think on your feet. Take the shops, offices and street, and turn them into your playground.’”

The book is published by BrownWalker Press (2013)

Related Links:
Walking Inside Out: Contemporary British Psychogeography
How We Used to Live – A Psychogeography of Your London

Saturday, 26 July 2014

How We Used To Live – A Psychogeography of Your London


I rarely come out of a film feeling uplifted, or think this is my best film of [insert year]. Some of my years don’t even have my-best-film-ofs attached to them, as the films I saw were all so unmemorable. However my favourite film of 2014 is How We Used to Live (2013), written by Paul Kelly and Travis Elborough. I saw it this week at the Hyde Park Picture House in Leeds.

I’ve never been a fan of Ian MacShane, but he was the narrator and his voice was marvellous. There was a spooky resemblance to John Hurt’s narration on the Art of Noise’s The Seduction of Claude Debussey (“imagine me saying the following”). The timbre of their voices is so similar. Interestingly, the music was not dissimilar to the Art of Noise, as St Etienne provided the soundtrack.

I should image that anyone who can remember the 60s, or who knows London from maybe at least the 80s, would find this film extremely nostalgic. From fashion, to music, to social history, we are taken through the decades from the late 50s. But this is not a stuffy overly sentimental historic trip. It is also amusing and includes strange little moments, like a young woman in a green dress being grabbed off the street and put into the back of a car. What happened to her? We don’t know. But the film is more because of these quirky moments.

The film uses British Film Institute archive footage and the film format reflects this history – no widescreen format for the postwar Brit. Also, the aesthetics of the titles, etc, is in keeping with the period:
“Whenever you go down the road, you travel not in three dimensions, but in four. The fourth dimension is the past.”
You can read a Channel 4 review here: Can You Spot the London You Know?

Related links:
For my favourite film of 2013: The Great Walk - A Film, a Mystery, a Cult. . .
Film overviews: Le Pont Du Nord and Urbanized