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Else walks around the city

Else walks around the city

Else walks around the city
The icon indicates free access to a linked study on JSTOR. Imagine a walk unencumbered by your phone, absorbed in the splendor of the world around you: the smell of blooming flowers, the warmth emanating from the sidewalks, the sound of the wind passing through and reflecting off high-rise buildings. You may spot a historical monument that you usually miss in the hustle and bustle of getting from point A to point B. Or notice the construction of luxury apartments where work housing used to be. You may be noticing that there are fewer birds singing than there used to be. Consciously or not, you are participating in the practice of psychogeography, a radical method of consciously navigating the world that benefits not only the individual but society as a whole.

Many of the challenges we face, from climate change to the crisis of loneliness to racial and class injustice, are deeply connected to the physical world and our interactions with our immediate environment.

This can be seen in the creation of red lines for communities of color over decades of discrimination or the planning and placement of work districts right in the path of industrial pollution. As we enter the public realm post-pandemic, we have the opportunity to envision new versions of the public realm, evident in concepts such as the 15-minute walkable city, where all needs can be met within a fifteen-minute walk; the creation of third spaces for interaction outside of home and work; and more general efforts to green and promote prosperity in both urban and rural areas.

Psychogeography that integrates psychology and geography

by was developed in the mid-20th century by the Letterist International and its successor Situationist International, two organizations based in Europe and drawing on anarchist and Marxist works, among others. Guy Debord, one of the founders of both organizations, defined psychogeography as the influence of the environment, conscious or not, on an individual's behavior or emotions. Psychogeography became tangible in dérive ("wandering"), defined by Phil Smith in Cultural Geographies as "a study whose purpose is to wander the streets of a city without definite direction, discovering and mapping the surrounding atmosphere."

Debord was inspired by Charles Baudelaire's flaneur

walking in the 19th century, which embodied the image of an unhurried and essentially upper-class male vagabond. The influential German-Jewish philosopher Walter Benjamin added to this concept, where the flaneur serves as "a type of society of interest because it points to the centrality of movement to social life," writes Mike Featherstone in Urban Studies. "The walker is constantly touched by new streams of experience and develops new perceptions as he moves through the urban landscape and crowds. "

Decades later, the Situationists found themselves at odds with a very different postwar Europe in the mid-20th century.

In the face of an increasingly capitalist society, they developed their own more political movement, drawing on the principles of Dadaism and Surrealism. Another of their central concepts was detournement ("switching"): "the deliberate reuse of different elements - such as images or text - to create something new", as A.E. writes. Susis in Cultural Geographies. (An example would be a subversive joke, such as devaluing advertising in an action against consumerism.)

Situationists were already concerned

caused, as Souzis says, by "increasing privatization, big business, and the shrinking of pedestrian-friendly public spaces," issues that continue to shape the development of urban areas by prioritizing commerce over the needs of residents. Amy J. Elias writes in The New Literary History that these radicals "aspired to a utopian, revitalized urban life that could escape the aesthetic tyranny of spectacular global capitalism and become a vital, liberating model of urban living."

Although the Situationists may have lost their relevance after the brief burst of revolutionary fever

embraced France during the May 1968 protest movement, psychogeography became, one might say, more relevant in the intervening decades. It has been linked to other movements such as Afrofuturism, environmental feminism, and Native American environmentalism that address the injustices faced by these marginalized communities.

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Collective urban gardening, the bombardment of seeds to revitalize native plants, and the heroic grafting of fruit-bearing branches onto trees all address issues of food security, sustainability, and the restoration of nature in industrial landscapes. Many psychogeographic ventures also focus on feminist reclamation of male control over public spaces, as seen at Take Back the Night rallies or in Lauren Elkin's 2016 memoir Flanner: Women Walking the City in Paris, New York, Tokyo, Venice, and London, which examines what it means to be a woman traveling the world.

In academia, psychogeography has become a fruitful tool for analyzing environments, both real and imagined.

This ranges from amusement rides ("the image of moving from the real spectacle to the spectacle of reality," as Franco La Polla writes in the French Journal of American Studies) to TV cafes in Berlin to era to data cells (places frequented mostly by immigrant communities, where various border policies and border crossings can be explored, Maria Steli argues in "The Yearbook of Women in Germany") to the imagination of post-Katrina New Orleans (Aoife Naughton hoped to preserve "that freedom and joy on the open street, even in a thriving real estate market").

Rather unexpectedly, the online world has also become a space for psychogeographic research

especially in the exciting days of Web 1.0. "Hacker and libertarian manifestos often expressed utopian ideals through the rhetoric of cyberspace," Elias writes. "Web surfing space can be restricted according to search parameters or open procedurally according to linked paths." As Web 3.0 emerges amidst the uncertain and sometimes unsuccessful platforms of the first wave of social media, the opportunity is presented to create new ways of creating digital realms that serve and engage communities that might not otherwise connect.

This fluidity of psychogeography, from the literally concrete to the space of virtual imagination

has inspired artists across genres. Blur frontman Damon Albarn, co-founder of Gorillaz, has created both deeply personal music ("His debut solo album Everyday Robots is so saturated with personal psychogeography that it must be the first record to extract sadness from the Thurrock Lakeside shopping center," observed Dorian Lynskey in The Guardian) and constructed alternate realities. As he told The Fader, "Gorillaz is geography in a way, because we've had this meta-universe for a long time. There's a lot of space accumulated in it, and the psychogeography is pretty huge. You can travel to different eras in different parts of the universe or world or island. "

Comics legend Alan Moore (Watchmen, V for Vendetta and Batman) has also spoken often about the role of psychogeography in his work, especially how it can help you find meaning in a world that doesn't seem to matter. "You can look at the ordinary world around you through the eyes of a poet," he told Wired in 2010. "Find events that rhyme with other events, what little coincidences or connections you can find with these places and people. You can put them together in an arrangement that tells you something new about them. "

Not long ago, Greek-American artist Gerasimos Floratos created a series of collages, drawings and paintings during the pandemic. Titled "Psychogeography," this creative process reflects the restless life around Times Square in New York City, finding connections to similarly busy systems in the human body. "For me, psychogeography is about making a map," Floratos said in the exhibition's press release. "Mapping the inner world simultaneously with the environment. Not the kind of linear maps we usually use, maps that simultaneously represent sensory data, emotions, memory, the physical body, culture, society, etc. "

Andy Howlett

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