est!bon!de!se!souvenir!qu’il!fut!un!temps! voix!stridente!et!dictatoriale. Anna!Kavan!and!JG!Ballard.!I!have! fuelled!on!these!ideas!and!taken!trips,!. 15 janv. C’est à la suite de sa correspondance avec J.G. Ballard que Tacita Dean a entre la Spiral Jetty et une de ses nouvelles Les Voix du Temps. Table of Content J. G. Ballard: THE LOST NOVEL. quelques feuilles qu’il commença à lire d’une voix emphatique, le dos tourné au jour. En ce temps-là, le veuvage de Castille était récent, et le plus exposé des secrets mondains n’était .
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Movement is the crossing of space by people, objects, capital, ideas and other information. It is either oriented, and therefore occurs between an origin and one or more destinations, or it is more akin to the idea of simply wandering, with no real origin or destination.
Broadly, the word mobility can be defined as the intention to move and the realization of this movement in geographical space, implying a social change.
It is alongside a highway under construction that we find Robert Smithson, whose work we analyzed in the previous post.
Where does this long expanse of asphalt the construction equipment is unfurling actually lead? What does it tell us about the way we develop?
What drives us to build it? It is alongside a highway under construction that we find Robert Smithson, whose work we analyzed in the previous post 2.
Journal of Early Modern Christianity
Starting in lateRobert Smithson carried out expeditions, often accompanied by a group of artist friends, sometimes abroad like his trip to the ruins of Yucatan in but oft times to transitional areas in the U. Passaic, New Jersey is a place the artist knew well, as that is where he grew up. This suburb, in which the work originated, most notably features a road lined with shops and a defunct quarry on the edge of a highway under construction that is now a vast wasteland.
Robert Smithson clearly places his work in a dynamic, a movement he describes in detail from the outset:. Next, I went to ticket booth 21 and purchased a one-way ticket to Passaic. After that, I went up to the upper bus level platform and boarded the number 30 bus of the Inter-City Transportation Co 6. He left New York and got off here, at this stop, in a New Jersey wasteland, which at first glance seems rather surprising. By leaving New York by bus, he destabilizes himself, leaving the city but – more importantly – himself, his preconceptions 7 and the influences and determinism of society behind, as he prepares himself to welcome a new vision.
And, along the way, where does he stop? Precisely there, where no one would choose to stop — a place of abandonment and chaos. His movement should be understood as a lesson in poetry, or, How to give birth to a new vision and a new vocabulary.
Smithson did not know where his journey would lead him.
He did not set out in search of something specific; he set out as a recipient, to receive by surveying this non-site through photos, metaphors, and visual and verbal bursts.
Smithson created in the same way that Jack Kerouac wrote remember that Smithson was very close to the Beat Generation for a time ; not seeking to flush out an idea directly but rather to hover over it, simply letting the words flow, like in free jazz trmps. And Smithson walked and walked, and never stopped moving, following lines like musical themes, taking them to the extreme.
Robert Smithson and the gold rush
Is mobility, however, dj other than a drawing? We recall void line in the sand of which Barnett Newman speaks: The author of Onements and a primitive art enthusiast and Smithson himself would certainly have appreciated the words of Tim Ingold But roads are, in some ways, like lines. It is also on the road that individuals forge knowledge of the world around them and describe it in the stories they tell… Among the Inuit, a person need only start moving to become a line.
To hunt an animal or find someone who may be lost, the Inuit draw a linear path fu the wilderness and go in search of clues leading to another path, j.y they achieve their objective. The whole country is seen as an interlacing of lines and not a continuous surface Through this clearly marked movement, Smithson plots out the first line of a drawing that he must make the effort to construct himself mentally one could just as easily do it on paper throughout the text and photos. Using a thick line the firsthe connects the verticality of New York the ballaard linethe symbol of an economic model par excellence that was intended to be triumphant, with the horizontality third line of the Passaic brownfield.
This horizontality quickly gives way to an inverted verticality fourth line — excuse the didacticism, which I will now abandon but that lew, in reality, be pursuedwhen Smithson tells us that lds ruins we see are not those of the past but those of the future, of the world in the gemps system that inherently tends towards its own entropy.
Moving helps us see precisely because it allows us to connect a space to the timeline of its history and its destiny. Robert Ballxrd gives us some insight: Driving along any superhighway meant going nowhere. Even moving, we seem to remain stationary. For this reason, space became synonymous with nowhere The excitement surrounding the conquest of the West, those railroad tracks that opened new horizons of adventure and opportunity, which advanced thanks to the dreams of humankind to build a more just society – proclaimed the values of the New World, the model for all of humanity henceforth.
These tracks we build now lead nowhere, Smithson tells us, or rather — which he proves — they lead to the development model that, for better or for worse, conceals its own ruined power, its next cataclysm. We no longer go forth to lay the foundations for a new society; we do not build highways for ideals of freedom, justice or fulfillment but to respond to the dictates of a system that demands ever-increasing efficiency for even greater profitability, which standardizes and sterilizes the landscape—in short, a system that is doomed.
Somewhere along the way, the objective veered from the Cape of Existence to that of a disembodied economy. And Smithson, here the embodiment of the romantic Wanderer 12hides his melancholy in this world so thoroughly disenchanted behind ironic humor.
The scar that is Passaic, which he wields before us screamingly, asks us: Robert Smithson was an avid reader and, as we know, was particularly fond of science fiction writer J. Many parallels can be drawn between his work and that of Ballard. They were told by the mysterious emissaries from Orion that the exploration of deep space was pointless, that they were too late as the life of the universe is now virtually over 14!!!
Can we see an incarnation of these roads, highways and bus routes in this convoluted path that is Spiral Jetty, for instance?
Perhaps this crystallization…of which the forest and people who venture into it in J. Exhibition Centre Pompidou Metz, Sublime. Les tremblements du mondefrom the 11th of February to the 5th of September Johnson Museum of Art, Cornell University,p. From the Greek entropia, meaning a return to the past. Retrospective, exhibition catalogue A.
Movement Movement is the crossing of space by people, objects, capital, ideas and other information.
Summary Bibliography: J. G. Ballard
En savoir plus x. Mobility Broadly, the word mobility can be defined as the intention to move and the realization of this movement in geographical space, implying a social change. Robert Smithson and the gold rush View. Robert Smithson clearly places his work in a dynamic, a movement he describes in detail from the outset: The author of Onements and a primitive art j.gg and Smithson himself would certainly have appreciated the words of Tim Ingold 9: Other publications The flying less movement.
Periodizing Mobilities and Scales of Transition. Subscribe to the newsletter! Please answer the question. What is displayed in the picture?