Re:Mapping the Flâneur

Image © Srinigas Kuruganti It’s now 6 weeks since FORMAT11 ended. It took a while for everyone at ASA Collective and Wideyed to get over Mapping the Flâneur (it was a lot of hard work!), and then start digesting the experience… Over the month that Mapping the Flâneur took place, 97 photographers from 20 collectives … Continue reading

Planning to flân

Less than a fortnight to go now… So, quick update. And we’ve literally drawn up a plan. On the left of this sketch is a big old wooden plan chest, which will be propped on spare index cards or books, and sitting on top of it will be the main printer, hidden under we’re not … Continue reading

Mapping more progress

With only a month to go till the opening of Collectives Encounter, it’s probably time to start talking about our part of it in more detail. First, an interesting quote from Walter Benjamin: From a European perspective, things looked this way: In all areas of production, from the Middle Ages until the beginning of the … Continue reading

Mapping progress

As part of our engagement with Collectives Encounter 2011, we’ve agreed to blog about process. Over the holiday period, Wideyed and ASA were too busy with a funding application to ACE to even think about blogging, but the application was submitted this week so, now that we’ve (more or less…) recovered from that, we’re getting … Continue reading

‘Eye-swiping London: Iain Sinclair, photography and the flâneur’, by Kirsten Seale

“Taking shape like the spectral imprint of a developing photographic image, an apparition emerges from the streets of London to haunt Iain Sinclair’s walks. It is the spectre of the flâneur. This spectral figure in Lights Out for the Territory and London Orbital, Sinclair’s non-fictional accounts of London, signifies a spatio-temporal disruption.  In Sinclair’s texts … Continue reading

The Arcades Project Project by Heather Marcelle Crickenberger

This essay introduces an online experiment in the composition of scholarly hypertext that resulted in a website entitled The Arcades Project Project. My argument in favor of such endeavors begins with a discussion of “The Work of Art in the Age of Mechanical Reproduction,” which I examine alongside “The Author as Producer” and “A Program … Continue reading

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