Alphabetarion #Arrange | John Williams, 1965

Anni Albers (1899–1994), Design for Smyrna Rug, 1925


"As he worked on the room, and as it began slowly to take shape, he realized that for many 
years, unknown to himself, he had had an image locked somewhere within him like a shamed 
secret, an image that was ostensibly of a place but which was actually of himself. So it was 
himself that he was attempting to define as he worked on his study. As he sanded the old boards
 for his bookcases, and he saw the surface roughness disappear, the gray weathering flake away 
to the essential wood and finally to a rich purity of grain and texture–as he repaired his furniture
 and arranged it in the room, it was himself that he was slowly shaping, it was himself that he 
was putting into a kind of order, it was himself that he was making possible."

John Williams, Stoner, 1965

Writers On Their Hometowns ( Paper Cut Maps) | BoWo Studio, 2016-2017

Human Cartography: Fernando Pessoa / Lisbon (2016)                                    Human Cartography: Franz Kafka / Prague (2016)
Human Cartography: Edgar Allan Poe / Boston (2016)                      Human Cartography: Fyodor Dostoevsky / St. Petersburg / Russia (2016)
Human Cartography: Machado de Assis / Rio de Janeiro (2016)               Human Cartography: Arthur Schnitzler / Vienna / Paper Cut Map (2016)
Human Cartography: James Joyce / Dublin (2016)                 Human Cartography: Arthur Rimbaud / Paris (2016)
Human Cartography: August Strindberg / Stockholm (2016)          Human Cartography: Søren Kierkegaard / Copenhagen (2016)     
Human Cartography: Sadegh Hedayat / Tehran (2017)                Human Cartography: Yukio Mishima / Tokyo (2016)
Human Cartography: Virginia Woolf / London (2016)                     Human Cartography: Herman Melville / New York (2016)
Human Cartography: Napoleon Lapathiotis / Athens / Paper Cut Map (2017)


©
collage / cut out / Illustration 


Also:


Stereosc2pe + | Pink and Green Mountains | Georgia O'Keeffe, 1917

Georgia O'Keeffe, Pink and Green Mountains I, 1917
Georgia O'Keeffe, Pink and Green Mountains II, 1917



Book//mark - Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London | Lauren Elkin, 2016

Woman in polka dot dress walking towards Grand Central at 43rd and 5th, 
Stanley Kubrick for LOOK magazine, 1946

“I walk because it confers- or restores- a feeling of placeness...I walk because, somehow, it's like 
reading. You're privy to these lives and conversations that have nothing to do with yours, but you 
can eavesdrop on them. Sometimes it's overcrowded; sometimes the voices are too loud. But there
 is always companionship. You are not alone. You walk in the city side by side with the living and 
the dead.”

“We all have our own signals we're listening for, or trying not to hear.”

“We want to make choices, and have some agency in getting lost, and getting found. 
We want to challenge the city, and decipher it, and flourish within its parameters.”


Lauren Elkin, Flâneuse: Women Walk the City 
in Paris, New York, Tokyo, Venice and London, 2016

Ruth Orkin, American Girl in Italy, 1951


“Slow down: it’s the only way to guarantee your immortality.”

“Walking it mapping with your feet. It helps you piece a city together, connecting up neighborhoods 
that might otherwise have remained discrete entities, different planets bound to each other, 
sustained yet remote. I like seeing how in fact they blend into one another, I like noticing 
the boundaries between them. Walking helps me feel at home.”

“Environments inhabit us,' Varda said. These places that we take into ourselves and make part 
of us, so that we made of all the places we've loved, or of all the places where we've changed. 
We pick up bits and pieces from each of them, and hold them all in ourselves.”

Lauren Elkin, Flâneuse: Women Walk the City 
in Paris, New York, Tokyo, Venice and London, 2016

A woman strolls past the Trocadero and Eiffel Tower,  Paris, 1920s 

“The streets of Paris had a way of making me stop in my tracks, my heart suspended. They seemed
 saturated with presence, even if there was no one there but me. These were places where something
 could happen, or had happened, or both; a feeling I could never have had at home in New York, 
where life is inflected with the future tense.”

“Living between cities, we are abandoned by them as much as they are by us,
 because if they gave us all we needed, we wouldn't have to leave.”

Lauren Elkin, Flâneuse: Women Walk the City 
in Paris, New York, Tokyo, Venice and London, 2016

Marianne Breslauer, Défense d’Afficher (No Advertisements), 1936 


“We get to know our cities on hoot, and when we leave, the topography shifts. We're no longer
 as surefooted. But maybe that's a good thing. It's just a question of looking, and of not hoping 
to see something else when we do. Maybe it's good to keep some distance from the things 
we know well, to always be slightly out of sync with them, not to pretend mastery. Beneath 
the cities we don't recognize are stacked all the cities we do.”

Garry Winogrand, New York, 1950s

“Why do I walk? I walk because I like it. I like the rhythm of it, my shadow always a little ahead 
of me on the pavement. I like being able to stop when I like, to lean against a building and make
 a note in my journal, or read an email, or send a text message, and for the world to stop while I 
do it. Walking, paradoxically, allows for the possibility of stillness. Walking is mapping with
 your feet. It helps you piece a city together, connecting up neighbourhoods that might otherwise
 have remained discrete entities, different planets bound to each other, sustained yet remote."

"Once I began to look for the flâneuse, I spotted her everywhere."

Lauren Elkin, Flâneuse: Women Walk the City 
in Paris, New York, Tokyo, Venice and London, 2016



Lauren Elkin                                         Flâneuse: Women Walk the City, 2016


Flâneuse [flanne-euhze], noun, from the French. Feminine form of flâneur [flanne-euhr], 
an idler, a dawdling observer, usually found in cities.

That is an imaginary definition. Most French dictionaries don’t even include the word. The 1905
 Littré does make an allowance for ‘flâneur, -euse.’ Qui flâne. But the Dictionnaire Vivant de
 la Langue Française defines it, believe it or not, as a kind of lounge chair.

Is that some kind of joke? The only kind of curious idling a woman does is laying down?

Strolling through Paris in 1914

The first mention of flâneur occurred in 1585. At the time, it was defined, 
in genderless terms, as “a person who wanders.” Elkin suggests that the 
concept was not gendered until 1806 at the earliest. 


Also:


Alphabetarion # Servants | James Joyce / Dodie Smith / Marcel Proust / Dejan Stojanovic / Michael Bassey Johnson

Nikolaos Gyzis, The Pantry Man, 1898


“A person who is another man's slave is better than one who is a slave to lust.”

Michael Bassey Johnson

“Different languages, the same thoughts; servant to thoughts and their masters.”

 Dejan Stojanovic, The Sun Watches the Sun, 2012

“It was in the defects that they [servants] invariably acquired that I learned of my own natural,
 invariable defects, and their character presented me with a sort of negative proof of my own.”

 Marcel Proust, The Guermantes Way, 1920-21

“I pulled my mind off the table and stared into the dimness beyond, and then I gradually saw 
the servants as real people, watching us, whispering instructions to each other, exchanging 
glances. I noticed a girl from Godsend village and gave her a tiny wink - and wished I hadn't, 
because she let out a little snort of laughter and then looked in terror at the butler.”

Dodie Smith, I Capture the Castle, 1948

"It is a symbol of Irish art. The cracked looking-glass of a servant."

James Joyce


Also:


The Ultimate Idealistic Lover | James Dean, 1931-1955

James Dean photographed by Dennis Stock in his West 68th Street apartment in New York, 1955

"Am I in love? Absolutely. I’m in love with ancient philosophers, foreign painters, 
classic authors, and musicians who have died long ago. I’m a passionate lover. I fawn 
over these people. I have given them my heart and my soul. The trouble is, I’m unable 
to love anyone tangible. I have sacrificed a physical bond, for a metaphysical relationship. 
I am the ultimate idealistic lover." 

James Dean



Nothing to say | Gilles Deleuze, 1925-1995

Anton Räderscheidt, Begegnung, 1921


“The problem is no longer getting people to express themselves, but providing little gaps 
of solitude and silence in which they might eventually find something to say. Repressive 
forces don’t stop people from expressing themselves, but rather, force them to express 
themselves. What a relief to have nothing to say, the right to say nothing, because only 
then is there a chance of framing the rare, or ever rarer, the thing that might be 
worth saying.”

Gilles Deleuze, “Mediators”, 1925-1995


Also:

Related Posts Plugin for WordPress, Blogger...