The 'Eternity' Man
At 12:00am on the 1st of January 2000, the Sydney Harbour Bridge had the word 'Eternity' emblazoned upon it. Each year, the Harbour Bridge becomes a site for broadcasting an image or text on New Year's Eve. The text or image could be poignant, fun, or simply a logo to match the theme of the event. It is a spectacle not just for local audiences; not only is it broadcast nationally, but it also receives a high international audience as it is one of the first cities to bring the New Year to a start.
http://www.sydneynewyearseve.com/fireworks/archive-gallery/#prettyPhoto[777]/4/
So when 'Eternity' was shining from the Harbour Bridge, with a smiling and winking face, it created a mixed message. The Sydney New Year's Eve website states that the theme was to pay 'tribute' to the city of Sydney. (http://www.sydneynewyearseve.com/fireworks/archive-gallery/#prettyPhoto)
In this act, a single man, and the word that he had written on the surfaces of Sydney became a contributor towards, and representative of a City Council's public image, and 'message' for the upcoming year. The importance of the term, and also the font and visual construction of this text, 'Eternity' will be discussed further in class. But I want to also mention how this example of graffiti (I will endeavour to address how the phrase 'Eternity' shows parallels to understanding of contemporary graffiti 'tags') has become an historical entity; no longer the simple scrawling in chalk of a man, but a loaded term within a specific city context.
Further information on Arthur Stace and his identity as 'The Eternity Man' can be found: http://www.nma.gov.au/exhibitions/eternity/home
(Notice that this is a National Museum of Australia website: this holds particular importance when considering the transferal of public graffiti into a historical, and government/council-informed space).
Graffiti and Place
I'll be discussing as part of the homework task, the graffiti of Sydney, Australia.
There is currently an unrelenting media concentration of graffiti in Sydney, as the New South Wales government recently introduced new anti-graffiti laws. As expected, the articles that discuss this pose more questions than answers, and focus upon the juxtapositions between the 'culture' and visual history of street art and that of a criminal act.
A few websites of particular interest:
-- Sydney City Council
Notice the format of the webpage. The first sub-heading under the title of 'Graffiti', is 'graffiti management'. The council webpage does not immediately define what 'graffiti' is within this framework. Instead, the first message that the reader is given is that the city council can control, 'manage', and remove graffiti. The only image we are given of graffiti is that being removed by a council worker. Only after the reader/viewer of this webpage has been given this information, are they made aware that they are 'legally' allowed to place posters within a public space. But does the council state where graffiti can be 'legally' placed? It appears to be absent. In an interesting turn, we are then told that there is a Public Art Policy, and taken to an entirely different webpage. The act of going to a new webpage, removed from the original site signifies that the notion of 'city art' is detached from the council-designated 'graffiti'. In this virtual act, we see how the city council has 'managed' the presence of graffiti- creating spaces and policies that enclose 'public art' within an approval system, and distance it from the 'graffiti' that should be removed.
Here is the link to the City of Sydney's City Art Policies: http://www.cityofsydney.nsw.gov.au/cityart/index.aspx
For more images, here is another article: http://www.cnngo.com/sydney/life/legal-street-art-sydney-859212
I'll be bringing further discussion points in to class, but these are a starting point for my introduction to the graffiti of Sydney.
Regarding Parkour
The video above was shot in National ChengChi University in Taipei, Taiwan, by two Americans, who currently reside in the city teaching English.
It was a really enjoyable work with music flows in sync with the movements, and that instead of shooting from a fixed spot, the usage of Glidecam allowed viewpoint to move in, at least similar, speed with the runner.
What amazed me beyond the incredible physical work was the speed and view the runner might have during the course. As one of the comment described "It feels like he is moving in 3D, whereas we normally see things only from 2D." In his spins, he may look at the place from a oblique angle; when he jumped down several stairs (even stories) at once, his eyesight was experiencing different velocity and that usual walking may seem like a slow-motion movie in his course of movement.
His course, although limited around the campus and was not the most efficient route to destinations, had opened up different light on how certain concrete establishment could be viewed as a city scene. For instance, whereas substation device around every corner was considered rather obtrusive, it may appeared as a vaulting horse in the eye of the runner. My personal favorite was his steps on the bollards, that not only the run on those small pillars seemed dangerous, but it revealed a different line in tracing the city. Whereas bollards in its function should stand in right angle with moving directions of pedestrians, stepping on them created a flow that runs along the street. Parallel movements seemed milder than hostile position of right angle.
What's also interesting was the comments in Youtube responses. Most of them expressed surprise and admiration to the video in that it had turned mundane and everyday scene into something different. A comment by xyth4857 extended the interpretation, and considered this free-running course in a university implied how students should overcome obstacles outside campus protection and take the leap out into the future.
Written Signs in the City
Situated in an insignificant corner of an insignificant convenience store, the stele read "坂本龍馬 中岡慎太郎 遭難之地", indicating the death place of Sakamoto Ryoma, one of the most popular historical figure in contemporary Japanese revolution, is considered a must-go tourist spot in Kyoto.
For a small monument with faded inscriptions in a rather negligible corner, this place (the small rectangular separation fenced with black rails) received unequal attention. "This is the place. You can see flowers given as tributes every day from visitors." said a clerk in the convenience store as I suspiciously verified with him if I had the correct address. Apparently, my doubts were rather legit, for I was not the only one perplexed by the disproportionated fame of "Death of Sakamoto Ryoma" with this prudent monument.
Some background explanation is probably needed here:
In mid 19th century, the ancient city, Kyoto was the base of revolutionists to conspire and orchestrate their political ideal against official Tokugawa reign (1603-1868). Sakamoto Ryoma was one of the leaders of the movement to overthrow Tokugawa rule. Interestingly, although highly regarded by other revolution heroes, he did not appeared important in earlier historical discussions. Yet, his legendary young death (died at the age of 33), defiant character and audacious lifestyles had inspired popular culture coverage from novels, manga to television drama, making him the most popular historical figure (oricon stye, 2010: http://life-cdn.oricon.co.jp/70635/full).
Given the weight and fame of Sakamoto Ryoma, the appearance of this sign seemed rather intriguing.
First of all, the language assigned was somehow euphemized. The translation of the sign should read "This is the place where Sakamoto Ryoma and Nagaoka Shintaro met with their misfortune/accident". Although the motive behind their assassination was inconclusive, the linguistic used was mild and almost impersonal. According to this inscription, the death of the two revolutionists seemed to falter into some larger, intangible wheel of fate, rather than to be considered as a political incident. Instead of blunt claim of death, it render the incident to something supreme, and thus cleverly avoided questioning of responsibility.
Additionally, 40 years after the assassination (1867), the stele erected in 1927 and since then the community had gone through several renovations before settling into convenience store. When I tried to link the weight of this incident of radical change in contemporary Japanese history, to a modern and commercialized convenience store, it appeared rather ironic. It was as if the significance of the death of the revolutionists was erased from locality, and what replaced the void was the consumer culture of a safe and neutral place.
Also, this sign can be seen as the identification of the place that without it, the place would have born no meaning. For one thing, through reforms over the years, the community had changed its appearance and relation to history. The significance and memory of this place would have been lost if not for a designated inscription given to it. For another, the stele was actually erected at the neighboring house of the exact place of the assassination (Wikipeida). That is, the record of the incident along with its meaning and historical connections was given by the sign to a different (although just slightly) coordinate.
Further reflection can be carried on regarding how these signs of historical incidents together with geographic mapping had created a different style of wandering in the city. Kyoto, given its important status, had been witness of seeming historical incidents regarding conspiracies, revolutions and assassinations. Browsing package tours on the internet, there are several interesting courses catering to the taste of history-maniacs and taking the traveller along trails of the signs and commemorations of historical events. Some steles, like this one, appeared with merely a stone with faded carvings, but was given a different approach, a rather commercial way of visit.
I personally think it an interesting idea of tracing the city like following some steps of secret missions. But I have to admit it looked a bit out of place, when tourists, including me, crowded in front of a dark corner of an ordinary convenience store, taking pictures of a stone sign erected not in the exact correct place, with abrased inscription.
Wor(l)d Order: Homework
Cockburn Street. Observation Point: Starbucks, 124 High Street, Edinburgh. Time and Date: Monday 15th October 2:30pm-3:30pm. Weather: Fine.
Thus began my observation of the 'comings and goings' of the entrance to Cockburn St. I did this perched from above, on the second floor, which made me immediately aware of the distance between my body and the ground. I know that this would not have been Perec's location of choice had he been there. There were certain physical elements (the frame of the window, and the steel bar between myself and said window) that confined my vision to a certain up-right rectangular space. However, there were certain advantages to observing from this distance; most importantly, I could write down fine details without having cars and larger objects obscure my vision from the foreground.
I then took to the streets. I walked down the left-hand side (coming
from High St) of Cockburn St and photographed details.
Here are a few of my shots from the day. The first two were taken from the window at Starbucks.
I now realise I
had particular aesthetic concerns, and these have informed my pictures. I
focused on colour and tonal contrasts: I have foregrounded the
difference between the flat slate, brown, and earth colours of the
buildings above, and the shop-fronts. The shop-fronts then also clash
against each other. I have also tried to draw attention to the way in
which this lower, eye level part of the street is dominated by clothing
shops, tourist shops, restaurants and pubs. And above them, is a uniform line of beautiful architecture, which was mostly ignored by passers-by.
The curve of the street was of interest to me. At some points you could turn around and have the area that you've just been blocked off from your vision.
A motif. Down the street, in the gutters, are often symmetrically placed council workers cones, or what we call 'witches hats'. These witches hats tie these images together.
'A Methodological Parkour'
Firstly, apologies for the poor quality - both the visual aspect and overall film production on my part. I had to downsize the original video as it contained a large amount of MBs. Secondly, I feel that I should explain my intentions with this 'film'. I consciously chose my iPhone to record my project, as I aimed to remove myself from the act of 'photographer'; I often find myself focusing all of my attention upon the confines of the camera lens, and trying to frame compositions with my Canon digital SLR, rather than being aware of the entirety of my surrounds. My photographs and footage in this project are often blurred, a product of the device I was using as well as my own movements, as I went from forward strides to halts and pauses as I considered the consistency of spaces around me.
My main aim was to produce a 'scheme' or path for a possible traceur, whilst paying particular attention to two key elements: how we are lead through the city space, and the texture of objects and buildings. The soundtrack is
Girl Talk, 'Can't Stop', and I have chosen this music for a particular purpose. Girl Talk, the stagename of Greg Gillis, is a DJ who produces music through digital sampling; he creates a hybrid album from a variety of musical sources, but largely combines rap and popular music genres. He is a poster-boy for the possibilities (and also controversial problems) for producing music and dispersing it through the internet. Girl Talk does not record CDs, but instead provides all of his albums for free download upon his website. Girl Talk, like parkour, uses the internet to disseminate information and identity.
Lastly, there are two different 'paths' that I have constructed in this project. I considered my original path as flawed. I then realised that my reasons for this are actually beneficial to my own understanding of how we can understand the city space through the method of parkour.
I will post further explanations as to the content of this homework project after our class on Wednesday October 10, 2012.
Amelia.
THE CITY IS A POEM
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"The "Innocent" Railway"
Amelia Rowland, 2012
A clump of coal falls, it
lands with a soft thud,
And as quickly as it was loaded at Dalkeith,
It is just as quickly
forgotten, in the warm, slick mud.
The wheels of this carriage
have long kept turning,
The ashen-faced carriage
master cannot stop
Such a fanciful amount
doesn’t match the earning.
The blackened remnants of
coal
They are promptly swept
away,
For a new commuter is waiting at bay.
For a new commuter is waiting at bay.
“I shan’t take a carriage
run by such trickery!” A maiden did cry,
And upon this ground,
What did she spy?
A horse took this maiden,
this fresh-faced and bonnily-laced,
Up unto Edinburgh town by a
carriage.
The year was 1839 and the
area did prosper,
A large amount of
passengers, this land did foster.
In 1963, a silence fell.
This land all at once became
nothing but a shell
Of it’s former use, and the
function it did own.
One day, a mere 20 years on,
A new wheel touched this
track, and it did not take this land as loan.
A cold controlled line of
cement did worm,
And a new commuter did
promptly learn,
Of the beauty of riding down
such an even track.
The speed at which they now
do fly, has meant that they don’t possess a trained eye,
To the remnants and memories
of a former wheeled flight,
A commemorative plaque is
quietly scrawled upon in the dead of night.
