2/26 Responses

ANDREA ZITTEL
In what way does Andrea Zittel's work tell a spatial story? What are the characteristics of that story, and what does it suggest about her definition of space? In what way does Andrea Zittel's work deal with the constraints on the body that Foucault suggests? (Consider projects like mobile living units, uniform project, wagon stations, Time Lapse Studies). In what way does her work function to "authorize the establishment, displacement, or transcendence of limits" (de Certeau 123) in relation to various spatial and temporal constraints on the body?

Andrea Zittel works operate on a very personal level that creates a spatial story for individual people. Zittel’s creations are meant to be tailored to the bodies and spatial needs of individuals, which may appear as a very convenient thing. However, these perfectly tailored works in turn limit one’s body and subsequent spatial stories to be constricted only to the original intention. Zittel creates what is initially a helpful tool, yet becomes a limitation or boundary. Such effects are evident in Zittel’s works “Carpet Furniture” and “Mobile Living Units”.

In Andrea Zittel's work "Carpet Furniture", carpet designs show the top view of all sorts of furniture, namely beds, desks, and tables. Zittel even goes to the extent of completing the details by adding "true" elements to the carpets, for example putting a vase of flowers on the carpet desk. Interestingly, Zittel's carpet designs essentially imitate what an architecture plan showing the interior furniture would look like. However we know that this is a two dimensional representation and contains no solid volumes that form what we know as furniture. Still, the two dimensional outlines are still recognizable to us as furniture, thus the carpet is no longer just a carpet, but a divider of space. There is where the bed is, and where the desk is. As seen in Zittel's images, people are resting on the "beds". If I walked into this room and were to sleep, I would likely sleep on the "bed" instead of just anywhere on the rug as well. We are conditioned to set function and value to certain objects, even if it's an illusion.

In terms of De Certeau, Zittel's piece deals with the idea of spatial boundaries and its division. It is as if each outline creates a threshold that limits one's actions. People automatically attribute "spatial stories" to familiar objects, for instance as mentioned earlier, one would attribute "sleeping" to "bed", even if this space is not actually a bed. Zittel's work on carpet furniture really reminds me of Sanback's work - using simple visual illusion to divide space and limit one's spatial movement. Just because the carpet outlines certain furniture, people tend to associate its function with the three dimensional objects that are actually not present.


            Another example of establishing limits through the intention of bringing convenience is seen in Zittel’s work “Mobile Living Units”. This was a very personal project Zittel created for herself. She had been observing her own daily living needs in a small space, the boundaries inflicted on her, the boundaries she creates for herself, the spatial stories generated in these boundaries, and such. With this, Zittel designed and eventually perfected a small living unit that included everything she needed in the smallest amount of space. At a glance this is a very practical project that saves space, time, and energy. However, actually living in this small unit for a prolonged period of time could be very uncomfortable. By setting up one’s own daily spatial boundaries to such confined limits, Zittel’s work of convenience becomes a paralyzing boundary.

Zittel’s Mobile Living Unit serves to “authorize the establishment…of limits” (de Certeau 123). The fact that Zittel titled this piece a “mobile” living unit, shows how this unit has a very temporary and nomad quality to it. A self-inflicted limiting boundary, Zittel confines all her spatial actions into a few square feet. However at the same time, this living unit could be placed anywhere that could house it. In a sense Zittel has created a unit that is unlimited in its mobility, but very limited in its own spatial boundaries. Essentially this mobile living unit is a stage for Zittel’s daily spatial stories.

TRAIN DREAMS
In what way does Denis Johnson's book create a spatial story from the framework of  historical narrative that frames this book? What boundaries are marked or transgressed, how is the frontier established or confused?  Look at de Certeau to help you with the definitions of these terms. What does Johnson's narrative tell us about the various constraints on the body suggested by Foucault, especially in the framework  of American expansionism, and its concomitant stories of exploitation and loss? Consider the way Johnson uses narrative (and narrative figures like the "frontier and the bridge")  to "set and transgress limits" of the spatial history of the United States.

Denis Johnson’s “Train Dreams” illustrates the extraordinary time frame of the twentieth century in the American West. Robert Grainer, an ordinary man in this framework, tries to make sense of this historical period. Boundaries and frontiers in “Train Dreams” are the time frames. American expansionism was a period in the late nineteenth and early twentieth century where America believed it had to keep expanding its borders to continue running strong. What is interesting about Grainier’s character is that he has crossed the frontier because he has been to both sides, before and after the twentieth century and its changes. Another border in the novel is that between the Americans and foreigners. For example the Chinese man in the first chapter and the Kootenai Bob. The Americans obviously treated these foreigners with less value, as seen from the first chapter where Grainier and the other men did not have qualms about killing the Chinese man.  Another boundary is Grainier’s ties to the train and railroad. He has “been all over this country. Canada, too. Never a hundred yards from these rails and ties”. Grainier’s spatial activity is limited by the constant track of the train.

Critical Discussion Questions 

How is death and human suffering understood by Grainier?
What aspects of life in the West stayed the same for Grainier and what changed, did he change with these things? 

2/19 Andrea Zittel "Carpet Furniture"

In Andrea Zittel's work "Carpet Furniture", carpet designs show the top view of all sorts of furniture, namely beds, desks, and tables. Zittel even goes to the extent of completing the details by adding "true" elements to the carpets, for example putting a vase of flowers on the carpet desk. Interestingly, Zittel's carpet designs essentially imitate what an architecture plan showing the interior furniture would look like. However we know that this is a two dimensional representation and contains no solid volumes that form what we know as furniture. Still, the two dimensional outlines are still recognizable to us as furniture, thus the carpet is no longer just a carpet, but a divider of space. There is where the bed is, and where the desk is. As seen in Zittel's images, people are resting on the "beds". If I walked into this room and were to sleep, I would likely sleep on the "bed" instead of just anywhere on the rug as well. We are conditioned to set function and value to certain objects, even if it's an illusion.

I chose the aphorism "ambiguity in visual design ultimately leads to a great variety of functions than designs that are functionally fixed". Zittel's design here gives the audience the option to view the carpet as they wish - as a simple carpet, or as boundaries of space. It can be used both ways, and it is completely dependent upon the audience. This gives the audience the freedom to create a function for the carpet furniture, instead of the fixated functions of "sitting on a chair" or "lying down on the bed".

In terms of De Certeau, Zittel's piece deals with the idea of spatial boundaries and its division. It is as if each outline creates a threshold that limits one's actions. People automatically attribute "spatial stories" to familiar objects, for instance as mentioned earlier, one would attribute "sleeping" to "bed", even if this space is not actually a bed. Zittel's work on carpet furniture really reminds me of Sanback's work - using simple visual illusion to divide space and limit one's spatial movement. Just because the carpet outlines certain furniture, people tend to associate its function with the three dimensional objects that are actually not present.
sandback

2/17 Foucault Summary

One can sense from afar a soldier’s presence through his stance, demeanor, and figure. Soldiers serve as an example of an ideally conditioned and tailored population. In “Docile Bodies”, Focault introduces the concept of easily manipulated populations. Focault proposes various methods of controlling a body, related to enclosure, organization, time, distribution, and activity.

 

Enclosure of each individual is Focault’s first proposed key of creating discipline in a population. Enclosure creates a “protected place of disciplinary monotony” (78). Creating a monastic cell not only gives each individual their own space and place, it also partitions the population. This partitioning breaks up the communities in the population. Communities are detrimental to creating docile bodies as it gives the subjects of control their own control. Furthermore, enclosed partitioning  “establishes presences and absences” so that the ones in control can keep tabs on the subjects (79).

 

The organization of the enclosed population is also integral to control. “It is spaces that provide fixed positions and permit circulation; they carve out individual segments and establish operational links; they mark places and indicate values; they guarantee the obedience of individuals” (81). Circulation is key to the organization of enclosure as it determines the pathway of each individual.  For example, every worker would have to pass a particular sign to go to the work site, or a guard’s station would be elvated from cells to overlook the inmates. How a space is organized determines how it is used.

 

 To develop discipline, a rigorous and strict time table must be employed, “Precision and application are, with regularity, the fundamental virtues of disciplinary time”(83). A time table or schedule can most efficiently organize and control each individual’s use of time. Dividing work with time creates predetermined actions that each most perform at specific times.

 

              Distribution of work also plays a role in Foucault’s argument as he explains how idle time is wasted time. Enclosure is important to eliminate idle time, “By assigning individual places it made possible the supervision of each individual and the simultaneous work of all” (81). Each individual not only has his or her own space, but they have their own task in this particular enclosure. This organized system is easy to control and clear to understand. It is also much more productive.

 

Lastly, perfection of activity or gesture is also a means to create mechanical and efficient workers. Foucault uses the example of perfect handwriting, and how it involves not only the hand but the entire body and its posture and control. Establishing this type of control in one’s action trains their body to become docile, and at the same time increases production because correct activity allows maximum productivity.

2/12 Higgins Hall Auditorium Analysis Through "Docile Bodies"

I chose the Higgins Hall Auditorium where all our architecture-related lectures take place. The auditorium has two entrances, and the ground floor descends with gentle steps toward the small stage that also features a podium. The seating is divided into two sections and there are three pathways one can take; down the right, left, or middle podium. The stepped structure of the seating allows each row to have a clear view of the stage. Being an auditorium, the space contains yellow lighting that is flexible to control. When lectures are conducted, the lighting on the audience can be dimmed to only shed brighter light on the stage.

In terms of circulation, as people enter the auditorium, they filter through the three descending pathways mentioned until they enter a row and find a seat. Other than the speaker or technicians, to most people the stage is off limits. Even the first few rows of the auditorium are seldom fully occupied. People tend to seat themselves in the middle or back of the auditorium, as the closer one is to the stage, more people can see them and more attention is drawn to them. The layout of the auditorium partitions people into mainly the speakers/performers, and the audience. On page 75 of Foucault's "Docile Bodies", he describes how the "each individual has his own place; and each place its individual. Avoid distributions in groups; break up collective dispositions...one must eliminate the effects of imprescise distributions, the uncontrolled disappearance of individuals, their diffuse circulation".  Where the audience seats themselves is also somewhat organized; more eager participants tend to sit closer to the stage, while people who are less engaged are likely to sit in the back of the auditorium. For every audience member, essentially all they see of others is the outline of the back of their heads, all focus is on the stage. Furthermore, in the quiet and formal setting of an auditorium, if one gets up to leave or performs any unexpected action, everyone behind them will immediately notice. This is a means of controlling "uncontrolled disappearance".

The setup of the auditorium lends to more seminar based lectures where the speaker utilizes the screen and microphone to project information to the audience, while the audience is the passive receiver of information. The elevated structure of the auditorium allows each audience to have a clear view of just the stage, while from the speaker's perspective on the stage, all audience members can be seen (if lights are not dimmed down). Furthermore, access to the space is limited to speakers, faculty, and students of the Pratt architecture community. For guest speaker lectures, a Pratt ID must be shown to gain admittance. 

2/10 Docile Bodies Discussions Questions

1. Focault presents various ways of controlling the body (partitioning, time, work distribution..etc.) , is there one particular way that is most prominent and useful in creating docile bodies?

2. On the topic of distributing individuals in a space, what does it mean that "the different forms of activity in the distribution of 'posts' had to be linked together." ?

2/4 "Tintern Abbey" and "Spatial Stories" Response

Ann Chai

Prof. Sacha Frey

The Frontier:

“Tintern Abbey” and “Spatial Stories” Response

 “Tintern Abbey” by Williams Wordsworth illustrates the story of a boy who has returned to Tintern Abbey and reminisces over the experience and comfort he received from the place as a child. The narrator contrasts the peacefulness of Tintern Abbey to the busy world he encounted during his five year travels. His memories shift into care for his sister, and hopes that she will receive the same comfort from Tintern Abbey in the future. Wordsworth creates a kind of spatial story described by Michel de Certeau in his writing “Spatial Stories”. This poem contains two major boundaries in time, the past and the present. The narrator is able to cross these boundaries with the use of a frontier in the spatial story.

De Certeau writes, “the story’s first function is to authorize, or more exactly, to found”, it serves to set up a space and place for the actions of the story (123). Wordsworth sets up a spatial story through founding or defining this place and space. Wordsworth gives “place” to Tintern Abbey through visual imagery such as “steep and lofty cliffs,/That on a wild secluded scene” and “These plots of cottage-ground, these orchard-tufts”. Wordsworth gives the value of “place” by describing Tintern Abbey in its physical attributes. This provides a solid and tangible “map” explanation of this spatial story.  However, Wordsworth also sets up “space” for the place by describing the actions related to the place. Specifically, the narrator is recalling his childhood days of play, “when like a roe/I bounded o’er the mountains, by the sides/Of the deep rivers, and the lonely streams,/Wherever nature led”. The ample use of imagery employed by Wordsworth paints a clear image of the landscape of Tintern Abbey, yet also provides the emotion attached to the place.

In Wordsworth’s poem, the narrator moves across the boundaries of the past and present through the frontier which “creates communication as well as separation” (de Certeau 127). Most importantly, in “Spatial Stories” by De Certeau, he emphasizes how a frontier is significant in how “he establishes a border only by saying what crosses it, having come from the other side” (127). Wordsworth does precisely this through the use of the narrator’s memory. The poem begins with the introduction that states how the narrator has been gone from Tintern Abbey for “five years have past; five summers, with the length/Of five long winters!”. The narrator remembers himself as a boy with “animal movements” who saw nature as his all when he was in Tintern Abbey. Yet time has passed and he has crossed the frontier to become a man faced with “the fever of the world”. However, the narrator is not reluctant to move on, but rather uses a tone of thankfulness towards Tintern Abbey as a source of strength through his years away. Having crossed the frontier, the narrator views his past self as less intelligent, using oxymorons such as “aching joys” and “dizzy raptures”. Hence, although the frontier is a divider of time, the narrator who is from the other side, is able to consider the two spaces of his past and present.

Wordsworth’s “Tintern Abbey” illustrates several points de Certeau emphasizes in “Spatial Stories”. Specifically, “Tintern Abbey” creates a spatial story that is marked by the boundaries of time. At the same time, the narrator is able to cross through these boundaries because of the “space between” that is defined by frontiers.