Presentation of documentation of documentation project - Nourah, Sarah, and Brandon.
Tour of Old Gray Cemetery.
Read the wikipedia page.
People buried in Old Gray.
Find a grave.
Thursday, February 24, 2011
Tuesday, February 22, 2011
Thursday Class
What we will do in class:
Talk about field trip to Knoxville Underground. Context discussion with Paris Underground.
Talk about documentation projects we have not discussed and projects as a whole.
Planning for rest of the semester (field trips, projects, other).
Talk about field trip to Knoxville Underground. Context discussion with Paris Underground.
Talk about documentation projects we have not discussed and projects as a whole.
Planning for rest of the semester (field trips, projects, other).
Saturday, February 19, 2011
Knoxville Underground
Read, watch and listen to the report on the Paris Underground before we meet on Tuesday. Be underneath the bridge at Gay St and Jackson Ave before 1PM. We someone check to see if Original Mr Freezo is selling frost freeze ice cream on Tuesday. We can also to to Old Gray Cemetery on the way back. Check out the wikipedia link.
Tuesday, February 8, 2011
Second Space Project
Project choices:
Turn one space into another
Activate a space
Miniature/model
22 February: Announce which project criteria you chose and whether
collaboration or individual.
1 and 3 March: Preliminary presentations.
Turn one space into another
Activate a space
Miniature/model
22 February: Announce which project criteria you chose and whether
collaboration or individual.
1 and 3 March: Preliminary presentations.
Sunday, February 6, 2011
Botanical Gardens Notes
Read the history of Knoxville Botanical Gardens.
Bring notebooks to class to take to garden.
Decide where the "navel" of the garden and why.
How does this garden reflect the points in the Third Principle and how does it not?
Third principle. The heterotopia is capable of juxtaposing in a single real place several spaces, several sites that are in themselves incompatible. Thus it is that the theater brings onto the rectangle of the stage, one after the other, a whole series of places that are foreign to one another; thus it is that the cinema is a very odd rectangular room, at the end of which, on a two-dimensional screen, one sees the projection of a three-dimensional space, but perhaps the oldest example of these heterotopias that take the form of contradictory sites is the garden. We must not forget that in the Orient the garden, an astonishing creation that is now a thousand years old, had very deep and seemingly superimposed meanings. The traditional garden of the Persians was a sacred space that was supposed to bring together inside its rectangle four parts representing the four parts of the world, with a space still more sacred than the others that were like an umbilicus, the navel of the world at its center (the basin and water fountain were there); and all the vegetation of the garden was supposed to come together in this space, in this sort of microcosm. As for carpets, they were originally reproductions of gardens (the garden is a rug onto which the whole world comes to enact its symbolic perfection, and the rug is a sort of garden that can move across space). The garden is the smallest parcel of the world and then it is the totality of the world. The garden has been a sort of happy, universalizing heterotopia since the beginnings of antiquity (our modern zoological gardens spring from that source).
Bring notebooks to class to take to garden.
Decide where the "navel" of the garden and why.
How does this garden reflect the points in the Third Principle and how does it not?
Third principle. The heterotopia is capable of juxtaposing in a single real place several spaces, several sites that are in themselves incompatible. Thus it is that the theater brings onto the rectangle of the stage, one after the other, a whole series of places that are foreign to one another; thus it is that the cinema is a very odd rectangular room, at the end of which, on a two-dimensional screen, one sees the projection of a three-dimensional space, but perhaps the oldest example of these heterotopias that take the form of contradictory sites is the garden. We must not forget that in the Orient the garden, an astonishing creation that is now a thousand years old, had very deep and seemingly superimposed meanings. The traditional garden of the Persians was a sacred space that was supposed to bring together inside its rectangle four parts representing the four parts of the world, with a space still more sacred than the others that were like an umbilicus, the navel of the world at its center (the basin and water fountain were there); and all the vegetation of the garden was supposed to come together in this space, in this sort of microcosm. As for carpets, they were originally reproductions of gardens (the garden is a rug onto which the whole world comes to enact its symbolic perfection, and the rug is a sort of garden that can move across space). The garden is the smallest parcel of the world and then it is the totality of the world. The garden has been a sort of happy, universalizing heterotopia since the beginnings of antiquity (our modern zoological gardens spring from that source).
Mirrors
Mirror Paintings
There are also, probably in every culture, in every civilization, real places - places that do exist and that are formed in the very founding of society - which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality. Because these places are absolutely different from all the sites that they reflect and speak about, I shall call them, by way of contrast to utopias, heterotopias. I believe that between utopias and these quite other sites, these heterotopias, there might be a sort of mixed, joint experience, which would be the mirror. The mirror is, after all, a utopia, since it is a placeless place. In the mirror, I see myself there where I am not, in an unreal, virtual space that opens up behind the surface; I am over there, there where I am not, a sort of shadow that gives my own visibility to myself, that enables me to see myself there where I am absent: such is the utopia of the mirror. But it is also a heterotopia in so far as the mirror does exist in reality, where it exerts a sort of counteraction on the position that I occupy. From the standpoint of the mirror I discover my absence from the place where I am since I see myself over there. Starting from this gaze that is, as it were, directed toward me, from the ground of this virtual space that is on the other side of the glass, I come back toward myself; I begin again to direct my eyes toward myself and to reconstitute myself there where I am. The mirror functions as a heterotopia in this respect: it makes this place that I occupy at the moment when I look at myself in the glass at once absolutely real, connected with all the space that surrounds it, and absolutely unreal, since in order to be perceived it has to pass through this virtual point which is over there.
Thursday, February 3, 2011
Field Trip to Knoxville Botanical Gardens
On Tuesday, 8 February, we will meet in class (be on time) and then drive in various cars to the Knoxville Botanical Gardens. The Gardens are located in East Knoxville and open five days a week, 9 - 5.
Do we want a guided tour?
Chandler's after?
Subscribe to:
Posts (Atom)