The following essay on the instrumented streetscape is one of the oldest surviving passages in The City Is Here For You To Use; parts of what you’re about to read date to 2007 (!). Among other things, this explains why it’s tonally more enthusiastic about the prospect of living in such a city than anything I’d be likely to write from scratch today, and also accounts for the fact that a decent chunk of it bears an unfortunate resemblance to Dan Hill’s great and deservedly foundational 2008 essay “The Street As Platform.” (I like to think my take is sufficiently distinct from Dan’s that it’s still worth publishing as-is, but I’m sure you’ll let me know if you think otherwise.)
Those quibbles aside, I’m pleased with the way it stands up — pleased enough, at any rate, to offer it to you here, now, before any more time goes by. As ever, I hope you enjoy it and find it usefully provocative.
Imagine trying to apprehend everything that happens over the course of a single day, in any of Earth’s great cities: all the flows of matter, energy and information; all the happenstance connections which come into being for a single moment, before passing forever into history; every sensible event which transpires. Even if you could somehow capture all of these passages in a single diagram, how could the result be anything but a writhing hypershape, forever absconding from our ability to comprehend it?
But what if we could perceive the shape of events, even for a moment? Better yet, what if we could somehow decode what it was trying to tell us? What if we could divine the subtle patterns latent in it, haul ashore from this dark sea order, insight…meaning?
Toward the end of his long and productive career, the great sociologist Henri Lefebvre took up just this question, in a project he called “rhythmanalysis.” This was a notion he introduced in an essay called “Seen from the Window,” and a famous passage in which Lefebvre simply stands at his balcony and gives himself up to the tides of the living city.
His view must have been spectacular. From this favored vantage point, he can take up the Centre Pompidou, the Bank of France, the National Archive, “[a]ll of Paris ancient and modern, traditional and creative, active and idle” in a single sweeping gaze. Alongside Lefebvre, we stand at the window long enough to note the diurnal washes of office workers and schoolchildren, the cyclic peaks and troughs of vehicular traffic, the blooms of tourist-friendly mummery in the museum plaza and the slow ebbing of activity into the long stretch of the deep middle night.
This depiction of the great city’s surges and stutters is vivid enough, especially for readers familiar with Paris. But what Lefebvre is trying to call our attention to is what happens when we immerse ourselves in the art of watching. “Seen from the Window” isn’t ultimately concerned with anything that can be captured by a single glance, as much as it is with an order that reveals itself only in time.
What the trained mind perceives in the daily cycling of neighborhood noise and activity, Lefebvre claims, is nothing less than “social organization manifesting itself.” Pushing back against the modernist notion that to see something is to know it completely — a notion which inheres in the very idea of surveillance — “Window” argues that there is a hidden truth of the city, something bound up in patterns of regular activity that unfold only along the t axis: in a word, rhythms. “No camera, no image or sequence of images can show these rhythms,” he insists. “One needs equally attentive eyes and ears, a head, a memory, a heart.”
While it certainly resonates with other attempts to know the city via concerted application of the senses, notably Georges Perec’s lovely 1974 Attempt At Exhausting A Place In Paris, this is something Lefebvre maintains even though “Seen from the Window” apparently postdates a few artifacts demonstrating how much more rewarding this undertaking can be when augmented with appropriate technology. Koyaanisqatsi, for example, which is nothing if not a sequence of images showing the rhythm of urban place and the underlying social order, and an extraordinarily vivid and memorable one at that. Or William H. Whyte’s wonderful 1980 investigations of sidewalk life in New York City, released as a short film called The Social Life of Small Urban Spaces.
It is surely the case, historically, that time-and-motion studies have had unfortunate Taylorist and Fordist resonances, and perhaps Lefebvre was reacting to those in insisting on the primacy of human perception. But Whyte’s work demonstrated that, conscientiously applied, time-lapse photography could reveal patterns of use and activity that would have escaped the unaided human observer; if the value of such techniques wasn’t obvious before his films, it certainly should have been thereafter. So while I’m always tempted to submit to Lefebvre’s passionate humanism, the fact is that any attempt to understand patterns of regular activity in anything as compound in its complexity as a city is likely to fail if the proper tools are not brought to bear on it.
Could it be that we now have access to tools that Lefebvre lacked? Tools that even he might have granted would provide crucial support to his project of rhythmanalysis and, more broadly, other attempts to divine the deeper order in the surging and cycling of things? Certainly those of us with the ordinary endowments of attention and focus have a hard time wrapping our heads around the “organized complexity” Jane Jacobs thought of as emblematic of urban place; I can tell you from long experience that sitting and watching a city, straining to read its traces and signs, is an exercise in head-flexing frustration. I, at least, need help.
Consider that organized complexity, and what it implies about the dynamics of place. In any settlement worthy of the name “city,” a very large number of discrete events will transpire at any given moment. We can think of each as a move in a sprawling, elaborate game — but a game in which every move changes the rules all players must abide by. Each and every event that is seen to occur alters the terms of the shared situation, however incrementally or subtly, and anyone wanting to develop any particularly robust understanding of that situation needs to account for as many of them as possible.
For most of human history, this was well beyond the capabilities of even the most ambitious state, or enterprise. As we’ve seen, however, we are by now collectively well-embarked on the project of installing sensing devices both on our persons, and throughout the urban environment, that can capture these fragile traces before they are lost. These devices operate in a bewildering profusion of registers, and at every scale. They generate the most torrential volumes of data about our bodies, our places, and everything that happens in and between them.
In being uploaded and propagated across a network, the flickering traces of our existence acquire an uncanny persistence. If this persistence isn’t immortality, or anything like it, it is at the very least an extension in time of things we have generally expected to expire and disappear from the world entirely. Whatever is once captured by the network remains available for future retrieval, furnishing us with a repository of collective memory that another French thinker, Bernard Stiegler, thinks of as a “global mnemotechnic apparatus.” And where the flood of sensed impressions easily overwhelms any unaided ability to make meaning of it, we now have access to an array of analytical techniques to help us correlate, synthesize and extract significance from the intake.
Where Lefebvre maintained that only the human eye was capable of registering the city’s rhythms, and only the human heart truly able to make sense of them, we’ve bound ourselves and our cities in a skein of technical mediation that — in this sense, anyway — allows us to transcend the limitations of the merely human. In doing so, we acquire new and almost superhuman capabilities, collectively and individually. We can sift the onrushing flow of events, divine the presence of a signal amidst all the noise, develop a vastly refined understanding of a city’s organized, compound and ramifying complexity…and act upon it.
Lefebvre is gone, but his balcony remains. The city that stretches beneath it is, like all other true cities, a manifold positively shuddering with life and activity at every scale of being. It pulses with flows of matter, energy and information, in patterns that vary from the clockwork-routine to the one-of-a-kind and never-to-be-repeated. What would you miss, if all you could know of these flows was the wedge or cone visible to you during a few hours’ vigil at a window in the 6e?
It’s a few moments before six, on a damp evening in early spring. From Montreuil in the east to Neuilly-sur-Seine in the west, streetlights wink on in a slow wave, as their sensors register the falling dusk. There’s a rush-hour backup approaching the Porte d’Orléans exit on the Périphérique; in front of a BNP Paribas ATM in the Rue de Sèvres, a brief scuffle breaks out between supporters of the Paris Saint-Germain and Olympique de Marseille football clubs. Two friends from Sciences-Po laugh abashedly, as they recognize one another before one of the few tatty multiplexes remaining on the Champs-Élysées — they’re in line to pick up tickets for the 6:15 showing of an American blockbuster. Not far away, in the Avenue Carnot, a flic pins a suspected purse-snatcher to the wall; affecting nonchalance as they wait for a van to come pick them up, he leans into the man’s back, putting all his weight behind the point of his elbow.
A municipal street-cleaner churns slowly through the streets of the Marais, hosing the day’s grit and dust from the asphalt. Across town, on the Boulevard Ney in the 18e Arrondissement, a bored Ghanaian streetwalker seeks shelter from a brief downpour beneath the awning of a pharmacy, her emerald-daubed nails clacking on the screen of her phone as she checks her messages. In the Rue Saint-Honoré, a fashion executive urges her two matched Standard Poodles from the back of the black S600 that has just deposited her in front of her office. An American backpacker on a post-collegiate month abroad strides forth from the marble gate of Père Lachaise with a shoplifted Gide wedged in the cargo pocket of his fatigue pants. And way out in Torcy, there are RER cars being switched in from a siding to the main rail line, bound for Les Halles and the other stations of the center.
In this city, everyone passing by with a mobile phone reveals their location — whether or not the phone is equipped with explicitly locative technology, whether or not the phone is even turned on. Every transaction in the bistros and shops and cafés generates a trail, just as every bus and car and Vélib bicycle throws its own data shadow. Even the joggers in the Bois du Boulogne cast a constant, incrementing tally of miles logged and calories burned.
This is Paris: all of it, all at once. In any previous epoch, all of these events might have transpired unobserved and unmarked — except, perhaps, by a sociologist in the twilight of his life, gazing down from his balcony. Even the most sensitive observer could never hope to witness or impress upon their recollection more than the tiniest fraction of it, however long they watched the city go by. And any information or potential insight bound up in the flow of events fell to the ground like a silent, diffuse drizzle, forever lost to introspection, analysis, and memory.
But now we can trace these flows, at least in principle, and plot them in space and in time. We can turn up latent patterns and unexpected correlations, and in turn suggest points of effective intervention to those with a mind to change. We can determine that there are more rhythms in the living city than even Henri Lefebvre ever dreamed of: anticipations, reversals, slight returns. Stutters, stops, and lags. Doublings and crashes. And we can do this all because of the vast array of data-collecting devices we’ve seeded through the quotidian environment.
Traffic cameras and roadway sensors on the Périphérique log the slowdown, and it shows up as a thick red line splashed across a hundred thousand electronic roadsigns, dashboard navigation units and smartphone screens. Here are the rhythms of daily mobility and, by extension, the broader economy.
The ATM’s security camera captures the precise details of who did what to whom in the scuffle, and when; the identities of the participants can be reconstructed later on, if need be, by a state-sanctioned trawl of the transaction records. (Those identity files will almost certainly note an individual’s allegiance to a particular football club.) As with the traffic, here too we can begin to make correlations, mapping outbreaks of aggression against other observed phenomena — the league schedule, perhaps, or the phase of the moon, or the unemployment index. Or even something comparatively unexpected, like the price of discount-airline tickets. Here are the rhythms of collective mood.
The friends so embarrassed to run into one another at a superhero movie? They reserved their tickets online using their phones, and in so doing broadcast their choice for all to see, at least in aggregate; they might be surprised to learn that those who purchase tickets in this way in the streets around their campus appear to have a marked fondness for Hollywood action flicks. Here are correlated geographical patterns of socialization and consumption, and the rhythms of media consumption.
The Avenue Carnot is nowhere to be found in any official record of the bag-snatching incident. In all the relevant entries, the offense is associated with the location where it was reported, a few blocks away in the rue de Tilsitt, and so that is how it shows up in both the Mairie’s statistics and a citizen-generated online map of risk in Paris; in fact, this kind of slippage between an event that happens in the world and the event’s representation in the networked record is routine. But the arrogant insouciance of the arresting flic’s posture bothers a lycée student passing by, who snaps a picture with her phone and submits it, time- and location-stamped, to the Commission Citoyens Justice Police, a civilian review board. In this constellation of facts, we can see something about the frequency with which particular kinds of crimes are committed in a given location, the type and density of policing resources deployed to address them, and the frictions between the police and the communities in which they operate. Here, then, are the contrapuntal rhythms of crime, its control and the response to that control.
The nature of the streetwalker’s trade could perhaps be inferred from the multiple daily orbits her cellphone describes between her regular patch on the sidewalk and a cheap rented room nearby. If not this, then her frequent purchases of condoms would certainly help to flesh out the picture, even though she pays cash for them — the pharmacy she buys them from retains a service that uses each phone’s unique IMEI number to track customers’ trajectories through the store, and this service maps her path to the Durex display with unerring precision. Here in these ghostly trails are the rhythms of the informal economy, surfacing through seemingly innocuous patterns of fact. (Her phone calls home to Ghana, like the tens of thousands of other calls mediated monthly by the base stations of the 18e, to Nigeria and Sierra Leone, clarify not merely how deeply interconnected any city is with others, but specifically which neighborhoods within them are most associated with other places on Earth. Here are the rhythms of global mobility, global migration and, inevitably, global exploitation.)
The streetcleaner, of course, has a GPS transponder; its moment-to-moment route through the city is mapped by the Mairie itself, and provided to citizens in real time as part of a transparency initiative designed to demonstrate the diligence and integrity of civil servants (and very much resented by the DPE workers’ union). Unless prevented from happening — should those workers, for example, happen to go on strike, or a particularly rowdy manif break out — here are the metronome-reliable rhythms of the municipal.
The fashion executive had her assistant reserve a car online some weeks ago, and so while there’s certainly something to be inferred from whether she splurged on the S600 as usual, or economized with a cheaper booking, there’s probably some lag in what it signifies. (Even if the car hadn’t been booked on the corporate account, it is also, of course, equipped with GPS, and that unit’s accuracy buffer has been set such that it correctly identifies the location at the moment it pulls up to the curb with the name of the house the executive works for.) Here can be gleaned solid, actionable business intelligence: both the cycling of particular enterprises and sectors of the economy, and by extension possibly even some insight into the rhythms of something as inchoate and hard to grasp as taste.
What might we learn from the American backpacker? The pedometer app on his phone is sophisticated enough to understand his dwell of eleven minutes in a location in the Rue de Rivoli as a visit to the W.H. Smith bookstore, but other facets of his activity this day slip through holes in the mesh — that boosted volume of Gide, notably, which will remain an unexplained lacuna on the bookstore’s inventory-tracking software. And, bizarrely, his few hours contemplating greatness and mortality in Père Lachaise, which resolve against a flaky location database as having been passed instead in the aisles of a Franprix market a few blocks to the east. (Indeed, so often does this same error happen that after a few months, the Franprix starts getting recommended to other tourists as a destination frequently visited by people like them, and enjoys a slight but detectable bump in revenues as a result. The manager is pleased, but mystified.) Here are the rhythms of contingency and chance and stochastic noise.
And each commuter passing through the turnstiles of the RER at day’s end, each of them the increment of a register in the capacity-management systems of the RATP, clarifies the contours of one final picture. The city’s population at 4 AM may be half what it is at 4 PM, revealing the true Paris as something that has only a casual relationship with its administrative boundaries. Here is the rhythm of the city itself.
Where previously everything that transpired in the fold of the great city evaporated in the moment it happened, all of these rhythms and processes are captured by the network, and retained for inspection at leisure. We can readily visualize basins of attraction or repulsion, shedding light on the relationships between one kind of flow and another, and in so doing perhaps learning how to shape their evolution with a lighter hand.
By the same token, though, that which had been liminal becomes clear; what was invisible is made self-evident, even painfully obvious; the circumstances we generally prefer to ignore or dissemble stand forth, plain as day. The embarrassing, the informal, the nominally private and the illegal become subject to new and perhaps untenable kinds of scrutiny. The gaze of the state intensifies — but the state may find, to its surprise, that its subjects have many of the same capabilities, and are gazing right back upon it.
On this evening in the City of Light, a hundred million connected devices sing through the wires and the aether. Of the waves that ripple through the urban fabric, at whatever scale, very few escape their ken — escape being captured by them, and represented in bursts of binary data. Enciphered within are billions of discrete choices, millions of lives in motion, the cycling of the entire economy, and, at the very edge of perception, the signs and traces of empire’s slow unwinding.
This is a city Lefebvre never saw from his balcony, and never could — any more than Henry Mayhew could have, in looking down on the wild scrum of Victorian London from the parapet of St. Paul’s, or any observer of any of the great cities of history would have been able to, no matter the perspicacity they brought to the task. It’s ours, the one we live in.
What might we do with it?
I’m beyond honored to have had this piece — a love letter to London and its maps — commissioned for the launch issue of the revived Journal of the London Society. I hope you enjoy reading it as much as I did writing it. For the record, the impeccable choice of title was theirs.
I very much doubt that there is a city on the face of this Earth better mapped, over a longer period of time — nor more potently associated with the image of the map, as cultural and practical artifact — than London.
I’m sure some of the reason behind this stems from the need to assert administrative control, assess taxation and clarify property rights across a bewildering profusion of boroughs, wards, parishes, liberties, districts and councils. Part of it, certainly, arises from the way in which successive mobility technologies have allowed the city to colonize the land — sprawling its way across terrains and conditions, levering itself ever outward via rail lines and motorways, until the area within the ambit of the M25 subsumed a not-inconsiderable chunk of the British landmass.
But a great deal of this history is driven by history itself. Over the two thousand years of its documented existence, the physical fabric of London has blithely folded everything from animal trails and Roman roads to the Abercrombie Plan and the Westway into its network of connections. As a result, this is, at its core at least, a topologically ornery city. It is a place threaded with byways that admit to no obvious exit, that continue past a nodal point only under some other name (and therefore bear multiple designations within the space of a few dozen meters), that deposit the pedestrian somewhere, anywhere else than wherever reason and intuition suggest they might. Saffron Hill, Newman Passage, Johnson’s Court, the increasingly (and, it must be said, distressingly) salubrious alleys of Soho — you can walk these thoroughfares half a hundred times, and still not quite remember how they link up with the rest of the city. Or even, necessarily, how to find them again the next day.
At the same time, of course, London is a city of roundabouts, flyovers and gyratories, of circuses and viaducts and junctions — a city that was already thoroughly reticulated by bus routes and Tube lines before anyone now living was born. With each new layer, its complexity increases in a way that is not additive, but multiplicative. But if all of this is undeniably the case, it’s also true that you can wake up one morning to discover that the tramways have been pulled up, that Charing Cross Road no longer quite connects with Tottenham Court Road, that someone’s proposing to turn Elephant & Castle roundabout into a peninsula. The confoundments threaten to spiral out of control. So whether they avail themselves of one via the enameled surface of a Legible London plinth, an app on their phone, or for that matter the Knowledge so splendidly immanent in the comparably complex network of neurons in a cabbie’s head, the would-be reckoner with London needs nothing so much as a chart, a guide. A map.
So equipped, one can finally negotiate the city with relative ease. But navigation is by no means the only thing we use maps for. It’s long been understood that cartographic tools can help us better comprehend some state of the world, and even allow us to make effective interventions.
As it happens, this kind of spatial analysis was born right here in London. When John Snow tallied deaths in the 1854 Soho cholera outbreak on a map, he made manifest a pattern that had previously eluded even the most conscientious ledger-based tabulation: that peak mortality clearly centered on the Broad Street water pump. Armed with this evidence, Snow famously petitioned the parish Board of Guardians to remove the pump handle, which they did the next day, stopping the epidemic in its tracks. It was a landmark moment for both epidemiology and geographic information systems — and it would not be the last time in the history of London that a map proposed an intervention.
Though a great deal more impressionistic than Snow’s fastidious chart, Charles Booth’s poverty maps of late-Victorian London are almost as granular, delineating among seven increments of socioeconomic status as they varied block to block, and occasionally house to house. Though Life and Labour of the People in London, the magnum opus in which they appeared, must be given the lion’s share of the credit — and this is to say nothing of Booth’s apparently indefatigable organizing — it’s generally acknowledged that the maps themselves were critical for catalyzing the sense that something had to be done to redress abject want in the city, perhaps by conveying its true extent in the backstreets and rookeries only rarely penetrated by the respectable classes. (The blithe ignorance these classes nurtured for their own city was truly impressive. In 1855, the London Diocesan Building Society had described the East End to its subscribers as being “as unexplored as Timbuctoo,” which must have come as some surprise to the hundreds of thousands of Cockneys living there.)
In their way, Booth’s maps were as effective as Snow’s in driving change in the world. The response, when it came, may not have been quite as elegant or as precisely targeted as the removal of a single pump handle, but its impact was undeniably felt at a larger scale. When Parliament authorized the first Old Age Pension in 1908, Booth’s work was widely regarded as having been instrumental to the effort aimed at securing its passage.
Here we get some sense of the power of a geographic data visualization. By judiciously folding complex urban dynamics back against the ground plane, maps like these help us comprehend circumstances that may well be transpiring beneath or beyond the threshold of unaided human perception, in space or time or both. They are, quite literally, consciousness-altering.
In all the long history of mapping the great metropolis, though, it’s arguable that no single map did more to change the ordinary Londoner’s perception of urban space than Harry Beck’s original Underground diagram of 1933. In reckoning with the burgeoning complexities of a then relatively new addition to the city’s network of networks, Beck’s map emphasized the experiential truth of urban space over the geographically literal. As anyone who’s ever hoofed it between Angel Station and Old Street can tell you, the overland distance between any two contiguous stations bears only the slightest resemblance to the proximity implied by the Beck schematic and its many descendants.
The distortions pull in both directions. With only the Tube map to rely on, someone unfamiliar with the topography of central London might well conclude that it’s entirely reasonable to take the Tube from Bank to Liverpool Street, or from Borough to London Bridge, when the former is at worst a nine- and the latter a ten-minute walk. (And don’t get me started about vertical distances. At Angel Station, the system’s deepest, it can take the rider a good five minutes just to get from turnstile to platform.)
But these gross displacements, however grievously they might afflict the small but vocal contingent of people who care passionately about such things, are entirely beside the point. For all its compressions, expansions and improbably crisp 45-degree angles, the map is impeccably accurate in reflecting the way Tube riders actually perceive the space of the city, as it unspools a few dozen meters above their heads. Rely on it often enough for long enough, and you too may find — to paraphrase Edward Tufte — that the map organizes your London.
For someone more than casually fond of both London and maps, it’s inordinately pleasing that these landmarks in cartographic history are all also part of the story of this particular place on Earth. You can go and visit the very places that John Snow and Charles Booth mapped any day of the week, using the system that Harry Beck described with his map.
We are, however, safe in considering all of this history mere preamble, however glorious it may be. I believe that at this moment in time, we are collectively experiencing the most significant single evolution in mapping since someone first scratched plans on papyrus — for one relatively recent and very simple development, made possible by the lamination together of three or four different kinds of technology, has completely changed what a map is, what it means, and what we can do with it.
It’s this: that for the very first time in human history, our maps tell us where we are on them.
Nothing in all my prior experience of maps prepared me for the frisson I experienced the first time I held an iPhone in my hand, launched Google Maps, pressed a single button…and was located, told where I was to within a very few meters. When you realize that, already, some 30% of the adults on the planet own a device that can do this, that this audience already greatly outnumbers all the people who ever consulted an A-Z, a Thomas Guide or a friendly green Michelin volume put together, you begin to understand just how dramatically the popular conception of cartography is evolving. Those who come after us will have a hard time imagining that there was ever such a thing as a map that couldn’t do that.
The fact that such depictions can now also render layers of dynamic, real-time situational information — traffic, weather, crime and so on — seems almost incidental compared to this. The fact of locability, in itself, is the real epistemic break. It subtly but decisively removes the locative artifacts we use from the order of abstraction. By finding ourselves situated on the plane of a given map, we’re being presented with the implication that this document is less a diagram and more a direct representation of reality — and, what’s more, one with a certain degree of fidelity, one that can be verified empirically by the simple act of walking around.
I’d argue that this begins to color our experience of all maps, even those that remain purely imaginary. We begin to look for the pulsing crosshairs or the shiny, cartoonish pushpin that says YOU ARE HERE. The ability to locate oneself becomes bound up with the meaning of any representation of space whatsoever.
And it has profound pragmatic consequences, as well. It means that our maps can do real work for us. Typical of this is the online service Citymapper. Fed real-time information by TfL via a series of conduits called “application programming interfaces,” or APIs, Citymapper constitutes nothing less than a set of keys to the city, accessible to anyone with a smartphone and a data plan. It effortlessly tames what is otherwise the rather daunting perplexity of the street network, divining a nearly-optimal path through all those closes and courts and alleys, or suggesting just what combination of buses and trains you’d need to cobble together to get from, say, Stoke Newington Common to Camberwell Green.
Again, here London is different from other places. Though Citymapper offers versions for New York and Berlin, Paris and Barcelona, the utility of each is hampered by the limitations placed on it by those cities’ respective transit authorities. In my experience, no metropolitan transit agency in the world provides APIs as robust and thorough as those offered by TfL, and as a direct result Citymapper and its competitors are more useful here than they are just about anywhere else.
Happily, buses and Tube trains aren’t the only ways of getting around that are enhanced by the new interactive cartography. The networked maps so many of us now rely upon transform the practice of walking, too. The way in which access to real-time locative information enhances one’s sense of security in exploring the city is beautifully expressed by the London-based technologist Phil Gyford: “I can quickly see that my destination might be only 25 minutes’ walk away, and I know I’ll be going the quickest route, and GPS will ensure I won’t get lost halfway there. Somehow walking now seems more viable and less uncertain.” What this opens up, even for the longtime resident, is the prospect of exploring a city they never knew, though it may have been separated from them more by habit and uncertainty than any physical distance. Gyford now feels free to wander “the overlooked parts of London…the neglected seas between the Tube-station islands”; somewhere, the worthies of the London Diocesan Building Society breathe a sigh of satisfaction before returning to their deep slumber in the earth.
That we are becoming — that some of us have already become — so intimately and thoroughly reliant on our maps to guide us safely through the urban thicket makes it more important than ever that we regard them critically. Though we know intellectually that the map is famously not the territory, the emotional truth of this can be harder to internalize; we’ve all seen news stories about truck drivers following their satnav directions straight into a lake, or a wall. We need to get in the habit of asking pointed questions about who makes the maps, who chooses the information that is rendered upon them, and where that information comes from in the first place.
We might also attend to the deeper truths about the city we live in that are brought to light by this class of representations. Consider the dynamic visualizations of the Milan-based transportation-planning practice Systematica. In their time-series map of London, peristaltic pulses of expansion and contraction wash across the familiar terrain, revealing what we’ve always known to be the case: that at no hour of the day is the actual city coextensive with its formal, administrative boundaries. Though the human presence must still be inferred from these abstract surges of color, the message is unmissable: for all the grandeur of its physical fabric, the deep London is nothing more or less than the people who move through it, animate it and endow it with meaning.
This, in the end, is not such a bad lesson to derive from contemplating the play of pixels on a screen. If, as the disgraced geographer Denis Wood puts it, all “maps are embedded in a history they help construct,” this is true of maps of this city more so than most. And if we know that London, this gorgeous hypersurface, is forever absconding from the knowable, and can never be entirely reduced to a set of lines and points and paths, this doesn’t necessarily imply that there is no point in making the attempt. Perhaps, as with those of John Snow, Charles Booth and Harry Beck, the maps of Citymapper, Systematica and their descendants may yet help bring a safer, wiser, more just and merciful city into being.
A piece republished on my old v-2 site in 2003 and creakingly old even then, having originally been written for a magazine called neo my ex-wife and I published in Seattle circa 1994. It is soooooo Nineties in its framings and formal concerns, but kinda fun nevertheless. Enjoy!
Returning slowly to ordinary consciousness as you stagger out onto the sidewalk at quarter to two in the morning, you find yourself with a pair of gonging eardrums, hands covered in the fluid seeping from torn blisters. The high-pitched scream in your ears is the predictable aftermath of a show; the blisters were suffered (you can only surmise) while hammering on a 55-gallon oil drum with a crowbar.
It’s the blisters – and the stench of cordite and adrenaline and fear that still hovers in your nostrils – that testify to the fact that what you’ve just seen is anything but the average rock’n’roll show. You’ve survived your first encounter with ¡Tchkung!
Recipe for a ¡Tchkung! show: a little May 1968 guerrilla street theater, a few touches from Survival Research Laboratories, a surprising amount from the contemporary French circus, maybe a pinch of Leni Riefenstahl – and not very much at all from the hallowed iconographic menu of rock.
Oh, sure, there’s some people playing musical instruments up on a stage, and there’s a pretty light show flickering over them. But that’s about where the resemblance ends. ¡Tchkung! uses a variety of techniques to break down the wall between performer and audience, sideshow pyrotechnicians and roving self-piercers among them. There’s no identifiable boundary between observation and participation – here’s where the comparison to SRL comes in: you can either choose to join in the chaos or back away to a putatively safe distance. The experience almost manages to revivify the use-worn phrase “in your face.”
As your mind clears, you review the events of the evening. You can barely remember how you felt just a few hours ago, so total has been your immersion in the mood of the show.
You do remember getting into the opening acts, a bagpipe ensemble and a Taiko drumming group, and being disappointed that more people in the crowd didn’t seem to be paying attention. The Taiko drummers in particular impressed you with their sense of barely-contained energies, and you wanted them to go on longer. But that desire was forgotten as ¡Tchkung! took the stage, amid the martial clang of found percussion and a sudden cacophony of voices and instruments.
How many were up there, anyway? Six, seven? They launched immediately into a grinding dirge, and everything else was swept away.
A torchlight procession wends its way down from the stage, around the club and back again; drums and sheet metal are tossed into the audience, along with tools and rough pieces of rebar for use as strikers. The action is acentric: there’s stuff going on up there, yeah, but there’s a knot of people twenty feet away watching a man eat fire. Right above you, a woman is shoving a needle through her lip with an expression of calm concentration made more exquisite by the total clamor on all sides. And where you’d expect a mosh pit to be, people who have never met each other – some in full bodypaint – are locking arms and dancing in a circle like medieval peasants at Beltane.
You’re encouraged to participate in this laying on of hands.
It occurs to me that I haven’t said much about the music. In this, I join a growing line of reviewers, who have tended to talk about the “barrage” of “damage” and “ritual”, but not about tunes. So far, music has been surprisingly secondary to any discussion of ¡Tchkung!, whether you’re talking about their live presentation or their self-titled debut CD (Belltown Records). It’s not because the music is bad – very much the contrary – but because the experience seems to be so much larger than just the songs.
They collude in giving this impression, too. The CD insert gives none of the standard information about the personnel of the band, the instruments or samples deployed, the lyrics. Instead, what you find upon opening the booklet is a veritable smorgasbord of left-antiauthoritarian thought, with elements recognizably derived from the IWW, the Situationists, the Diggers and Luddites, French theory circa Baudrillard…
Some of it doesn’t hang together very well: this is one of the only places I’ve ever seen ecofeminist and pagan thought juxtaposed with the macho deep ecology of Dave Foreman. And what would Kropotkin make of Terence McKenna? I appreciate ¡Tchkung!’s desire to turn their audience on to the wellsprings of their thought – but you do get the feeling that most of the other verbiage would be unnecessary if the music did its job.
OK, then: the music itself. If you’ve just gotta have a label, you might put ¡Tchkung! in the political wing of the percussive, assaultive school of sound known as “industrial.” This would make them classmates of the Lower East Side’s Missing Foundation and the Bay Area’s Sharkbait. There also seems to be a little bit of the anti-statism and anti-Christianity of the seminal, and annoying, British anarchist band Crass. What all of these bands share musically despite their many differences is a deep appreciation of harshly rhythmic noise, found percussion, and the use of slogans (all too often shouted from bullhorns) as lyrics.
You needn’t consider ¡Tchkung! to be hemmed in by this description, because they do have the makings of a sound that would far transcend the limitations of the genre. Where other bands of this genre dig themselves a rut of anger and monotony, ¡Tchkung!’s music has elements that compel genuine feeling and memory, whether the haunting, soulful keening of an extraordinary female vocalist, the weird Dreamtime warblings of a didgeridoo, or the chain-gang cadences of a worker’s blues. Where they’ve fallen down so far is in the successful integration of these elements into a focused whole, and in fact their CD will make you think you’re listening to a compilation album.
And listening to ¡Tchkung! at home is difficult anyway. Our society is structured in such a way that, for most people, it’s next to impossible to devote time to music exclusively, and so you wind up listening most while taking care of other tasks. We listen while driving, washing the dishes, making love – but how often do you just sit back in an otherwise silent environment and savor music? Getting the most out of a song like the otherworldly invocation “Io Lilith,” requires just such attention.
Then there’s the undeniable fact that most of these cuts evolved as soundtracks to live performance art – participatory and unscripted, but performance nonetheless. They can seem inchoate and incomplete without their complement of live activity. That they still succeed as well as they do is evidence that there’s some talent involved, but it is a sore point. They need to figure out how to have the performance of the music itself be the show.
I have seen bands that have mastered this. One I particularly remember launched into a song about a homeless Vietnam veteran living and dying on Venice Beach. All I really remember of the evening is this song, with its visceral thrum of bass and drums beneath the parallel wailing of sax and singer. The sound conveyed with absolute precision and fidelity an oppressive sense of narrowing options and failing hopes — and somehow found an affirmation of possibility at the bottom of the well. This is something that the unadorned three-piece wasn’t necessarily capable of; it’s my belief that it was the room they made for the swooping, lacerating sax that took them over the edge into transcendence.
That’s what I’m looking for. I’m not suggesting that it can be found simply by grafting a sax or a second drum kit onto the rock unit; neither do I believe that it can be forced by the wholesale, disrespectful adaptation of instrumentation or time signatures from other cultures. I think it comes in the fusion, the cross-fertilization, the creative recombination of elements.
We’re not limited anymore, in either the tactics or tools with which we approach making music. Punk rock famously urged us to Do It Ourselves. Hip-hop gave us the ideology of the sample; minimalism allowed us to derive structure from repetition of a few simple elements. Industrial taught us to explore the textures of noise and “world music” brought the planet’s entire history and heritage of musical experience to our immediate awareness. And digital technology means that whether it’s Ella Fitzgerald, Erik Satie, the throat-singers of Tuva, or a squealing circular saw we’re learning from, the lessons are as accessible as the nearest disc player.
So rise the new hybrid forms, born of new experiences: Parisian hip-hop, Gregorian ambient, Nipponese grindcore. Township jive touches down in Queens and Brazilian kids find out that speedmetal works especially well in Portuguese. It may not be exactly what McLuhan meant by the “global village,” but it’s as close as we’re likely to know.
I expect amazing things.
The musicians send forth waves of sound to break and crash over the audience; the response is immediate, sending bodies surging about like a throng of urchin dervishes. Sweatslick flesh presses in on you from every side, beyond individuality or gender. There’s an erotic charge in the air here, but also a palpable thanatos, a will to death and destruction that pulls on you like an undertow. Over the pounding beat, one of the singers is giving voice to a full, almost Old Testament wailing, a shriek of hopeless grief that recalls Diamanda Galas. It’s obviously a very intense and meaningful moment for her; the intensity comes across but much of her meaning is lost to you.
The air is thick with pheromones. The contrasts of the moment are dizzying: the singer’s grief, the exhilaration of losing yourself to the bodies on either side of you, the feral sexuality and the sense of loss.
They’re out on tour as I write, these offspring of Neubauten and Noam Chomsky, playing their harsh sounds out there in the American Night. I try to imagine them in Idaho, on this first night of the State Fair, mounting their full onslaught for what could be a room of fifteen, and fail.
I just can’t picture ritual percussion and onstage piercing playing real well in Boise. But maybe the world is changing faster than I think. According to a band member — the band speaks collectively or not at all — “the ranting and raving, they could take or leave, but they’ll stay through it just to hear the music.” I have to admit I’m surprised; after all, what will a nation used to Pantera and Snoop Doggy Dogg make of ¡Tchkung!, a band whose live sound could fairly be described as a discourse on the 1934 General Strike fused to the squeal of sawblade on aluminum?
But they’re not having too tough of a time getting their point across to audiences, and at that there is something appealingly homespun about them, something wholesome and (they’d hate it) deeply American. It’s a spirit somewhere between the Boston Tea Party and Andy Hardy shouting, “Hey, kids! Let’s put on a show!” None of which probably sounds terribly inviting, but I mean it as a compliment.
Avowedly anti-music-business, ¡Tchkung! claims “we’re doing something wrong if we get famous.” At the same time, they face the central dilemma of our mediated age — one never successfully negotiated by veterans of the punk rock moment such as Fugazi or Bad Religion: what happens when a subculture reaches critical mass?
If you believe in your message, naturally you want it to reach as many minds as you can. The way to those minds is through the gate of mass communications, and the gatekeeper is the big bad Media Biz. Because even such radically decentered communications tools as the Internet or the ‘zine scene speak to their own elites: a map of signals traffic along either of these networks would burn brightly over Hoboken, Berkeley and Georgetown, while leaving Jersey City, East Oakland or Anacostia dark.
The sad fact is that it’s the people who already have “access to tools and information” and power who know how to find relatively obscure artifacts like a ¡Tchkung! CD. Only the mass media have the ability to introject information into every fissure and crevice of our society. It’s a race and class and even cultural dilemma that ¡Tchkung! is sure to face head-on if they’re serious about getting their message across to the people who would benefit the most from a little self-empowerment.
The noise goes on and on and ON and you just want it to come to a climax or at least some sort of closure. After a while, you become aware that the stage is mostly empty, that the musicians are packing up their gear, and you’re not really sure at what point the show “ended.” The hammering din hasn’t let up in the least, and there’s still a good number of people locked into ecstatic dance.
Some perverse instinct compels you to wait it out, to see just how long it takes the crowd to ramp down from its ecstatic high. And so you wait and watch for things to end. But this show doesn’t; it just tapers off into guttering flames and one last screech of feedback, as dazed survivors reel across a dancefloor littered with “industrial” debris and shrapnel.
Seeing ¡Tchkung! left me feeling painfully ambivalent. On the one hand, here’s this band with a ton of energy, an awesome array of tactics to keep the audience involved, and (in the abstract, at least) politics I have little argument with. Those qualities have all proved vanishingly hard to come by in contemporary music. But what they have in sincerity, commitment, and intensity, they lack in focus and yes, discipline.
Because sometimes less really is more. Or more to the point: sometimes the energy that can sustain a show for three and a half hours at a given level could be used in more structured ways to produce a more vivid total effect in half that time. I know part of ¡Tchkung!’s intent is for each show to provide a door for the influx of chaos into the world — to create a temporary autonomous zone in which Anything Could Happen. But as it is, the Anything all too easily becomes boredom. And I resented it; the whole experience had raised a particular sort of energy in me — and then done nothing with it.
What did I want them to do with that energy? What might I have done with it myself? Alternately, what might I have done if only it was asked of me in that interval before the showbuzz wore off? Part of the problem here is that ¡Tchkung! is playing with fire, in more ways than the merely literal. The piercing, the firebreathing, the dervish-dancing, the relentless rhythms: these are all shamanic techniques for the alteration of consciousness, and there is no doubt but that they work. In their original contexts, they are all used by people undertaking specific initiatory journeys, when guided by others steeped in the traditions of their use. Of course, none of these conditions obtains at a ¡Tchkung! show. What happens when you put several hundred people into a suggestible state, in an environment filled with extraordinarily powerful signs of no fixed meaning?
¡Tchkung! obviously hopes that people will be empowered by the experience, moved to take back their lives from the entanglement of economic, social, religious, and political strictures that now binds us all. I share this hope, but I’m not so sanguine about the chances of such a mass transformation occurring spontaneously as the result of a three-hour carnival of noise. I could be wrong: for all I know, that’s the only way it could happen. But I’d bet against it.
¡Tchkung! is a band I like enough to come down hard on. They are a long way from where they need to be, I think, maybe even from where they want to be. And it sometimes seems — for an entity that presents itself as a musical group — that their music is entirely beside the point. But if they fall short on these counts it’s only because they have set their sights far higher than other acts you’ll see on the very same stages. They don’t seem particularly interested in providing an entertainment experience to an audience of passive consumers, which in itself is unusual for a band. They do seem interested in provoking the spontaneous creation of a community of desire, using any technique at hand. ¡Tchkung! wants you to determine the shape and direction of your own life. Despite some doubts about their tactics, there can be no higher goal, whether for a book, a speech, a magazine…or a rock band.
Do you still speak to your no wave peers?
Those that still live…Of course [I do]…Anyone, that’s still alive — I’m down, I’m here, hello.
Boy howdy did that strike a chord with me, as I think it likely will for anyone who’s ever belonged to a community with a disproportionately high mortality rate. I found myself thinking about it again the other day, after some drama had broken out on the Facebook memorial page for a friend I knew from the West Philly punk/squat scene of the early 1990s, someone who died last week in Cambodia at the age of 40. (That number startled me two ways: it is, of course, shockingly young to die, but I was also halfway-amazed to hear he’d made it even that far.)
The drama had to do with the fact that this person, as charming and vivid and unique as he was, was not by any means always pleasant or even necessarily safe to be around. One or two members of the group apparently felt that saying so in so many words was somehow disrespectful of him, or diminished his memory, but I was gratified to see that the far larger number of people posting to the page did not. They apparently believed, as I do, that only the truth is love. But still more importantly, any attempt at sugarcoating that truth, or sanding away the edges of an uncomfortable reality, would have done a special kind of violence to memory. And when you’re talking about a shrinking group of people who collectively lived through a given set of experiences, that violence cannot easily be borne.
Here’s what happens. The people who were there, whose corporeal memory enfolds some fragment of your shared lifeworld, they begin to drop away. And in time, the world fills up with people who, whatever their gifts and however beautiful they are, simply have no conception of what it was like to live in those days, materially, experientially or somatically. They just don’t share the frame of reference. So that connection you have with the dwindling number of those who do — well, when coupled to the natural deepening of personality that most of us seem to undergo, that connection comes to outweigh just about every other consideration.
There are of course some things that shared bond can’t excuse, some acts that can’t be overlooked. But for the most part you find yourself warming even to the folks you outright despised back in the day. Whatever lay beneath the rupture between you — narrowly-defined and harshly-policed differences in taste or politics, sexual jealousy — it feels so petty and trivial and little when compared to the fact that suddenly seems kind of majestic, which is simply that you’ve both made it across this particular sea of time with memory intact.
I think just about everyone who gets to be old learns this eventually. (And at that, maybe it’s another case of Bruce Sterling’s dictum that whatever happens to musicians first sooner or later happens to everyone.) We all undergo this brutal process of attrition, and even early on it becomes clear that in time this process is bound to strip away from us every last external referent or confirmation that the world was indeed what we understood it to be. You come to appreciate that sanity and community may be different words for the same thing. So on this twenty-fifth World AIDS Day, for anyone who may be reading these words with whom I ever shared a moment in space and time, I think it’s worth saying explicitly:
Anyone that’s still alive: I’m down, I’m here. Hello.
Stealthy, slippery, crusty, prickly and jittery redux: On design interventions intended to make space inhospitable
From Mitchell Duneier’s Sidewalk, 1999. The context is a discussion of various physical interventions that have been made in the fabric of New York City’s Pennsylvania Station:
On a walk through the station with [director of “homeless outreach” Richard] Rubel and the photographer Ovie Carter one summer day in 1997…I found it essentially bare of unhoused people. I told Rubel of my interest in the station as a place that had once sustained the lives of unhoused people, and asked if he could point out changes that had been made so that it would be less inviting as a habitat where subsistence elements could be found in one place. He pointed out a variety of design elements of the station which had been transformed, helping to illustrate aspects of the physical structure that had formerly enabled it to serve as a habitat.
He took us to a closet near the Seventh Avenue entrance. “We routinely had panhandlers gathering here, and you could see this closet area where that heavy bracket is, that was a niche.”
“What do you mean by ‘a niche’?”
“This spot right over here was where a panhandler would stand. So my philosophy is, you don’t create nooks and corners. You draw people out into the open, so that your police officers and your cameras have a clean line of sight [emphasis added], so people can’t hide either to sleep or to panhandle.”
Next he brought us to a retail operation with a square corner. “Someone here can sleep and be protected by this line of sight. A space like this serves nobody’s purpose [emphasis added]. So if their gate closes, and somebody sleeps on the floor over here, they are lying undetected. So what you try to do is have people construct their building lines straight out, so you have a straight line of sight with no areas that people can hide behind.”
Next he brought us to what he called a “dead area.” “I find this staircase provides limited use to the station. Amtrak does not physically own this lobby area. We own the staircase and the ledge here. One of the problems that we have in the station is a multi-agency situation where people know what the fringe areas are, the gray areas, that are less than policed. So they serve as focal points for the homeless population. We used to see people sleeping on this brick ledge every night. I told them I wanted a barrier that would prevent people from sleeping on both sides of this ledge. This is an example fo turning something around to get the desired effect.”
“Another situation we had was around the fringes of the taxi roadway. We had these niches that were open. The Madison Square Garden customers that come down from the games would look down and see a community of people living there, as well as refuse that they leave behind.” He installed a fencing project to keep the homeless from going behind corners, drawing them out into the open [emphasis added]. “And again,” said Rubel, “the problem has gone away.”
This logic, of course, is immanent in the design of a great deal of contemporary public urban space, but you rarely find it expressed quite as explicitly as it is here. Compare, as well, Jacobs (1961) on the importance to vibrant street life (and particularly of children’s opportunities for play) of an irregular building line at the sidewalk edge.
The notion that the minimally diagnostic criterion of a networked object is that “it knows the right time” is very curious, in that it refers to what may be the primordially alienating regime to which human life is subjected. Is it the case, therefore, that exposure to such objects or abjects cannot help but reinforce an estrangement from the world and from being-in-the-world?
Yes, enumerate the carriage parts — still not a carriage.
When you begin making decisions and cutting it up rules and names appear
And once names appear you should know when to stop.
– Tao te Ching, tr. M. LaFargue. (For the record, I prefer the Stephen Mitchell translation, but this seemed more pointedly relevant to the work at hand.)
The other day I got mail asking me to contribute to something called usesthis, a site that asks a (frankly fairly homogeneous) selection of creative workers to describe their “setup” — or, in other words, the combination of hardware and software they use on a daily basis — as well as their ideal such arrangement.
I’m always happy enough for a prompt to think in this direction. Although usesthis isn’t really (no pun intended) set up to examine these issues, the whole question of a relationship between creative output and one’s choice of tools is inherently interesting, and is kind of an ongoing preoccupation of mine. As a good connectionist, I’m bound to believe that the artifacts we use mediate or allow us to approach the world in certain specific ways. It follows from this that our selection of one particular tool over another conditions the kind of relations we’re able to enter into — but also, that if the tool is functioning properly, we’re ordinarily unaware of its operations, or of this potential it has to constrain or to open.
If we’re inclined to examine that potential, a rigorous accounting for the intermediators we choose can help us rise up out of the usual, unconscious relation we have to them, and restore the sense of interested inquiry Heidegger (at least) calls presence-at-hand — see Peter Erdélyi’s foreword to The Prince and The Wolf for a particularly pungent version of this.
There’s a lot to say, too, about the determinisms implicit in our selection of specific tools. Very often, particular methods and tools tell in the finished work; it’s not simply, then, that mediating artifacts shape our own ability to act in the world, it’s that they indirectly condition the experience of everyone who comes into contact with the result of that action thereafter. (I’m put in mind of Matthew Fuller and Usman Haque’s prescient comment, in their Situated Technologies pamphlet Urban Versioning System 1.0, that “[i]t is often possible to determine, admittedly more so in a building than in a neighborhood, whether it was designed using AutoCAD, Microstation or Vectorworks.”)
I think it’s relatively easy to see what this means for creative domains like fashion, music, or (as the Fuller/Haque quote implies) architecture. Take the work of Issey Miyake, for example. We can trace the very different ways in which A-POC and the superficially similar Pleats Please line are perceived (by the wearer, by the observer) to specific techniques used in their creation, observe that the material qualities of Pleats Please garments result from polyester fabric being subjected to a particular heat-press process. The way the garment drapes on the body is the direct result of the cloth’s having been shaped by a particular regime of temperature, constraint and pressure — a regime which is in turn brought into local being by a highly particularized set of tools. If you’re interested in understanding why the Pleats Please line tends to appeal to women d’un certain âge, some consideration of how the designer’s understanding of the body is mediated to the body via the deployment of those tools seems indispensable.
Similarly, albeit in a rather different register, it strikes me as being very difficult to discuss Stephen O’Malley‘s work without understanding at least a little something about drop-tuning, .68-gauge strings and the performance envelope of the Sunn Model T amplifier. The unique somatic (SOMAtic?) experience of a SUNN 0))) gig is contingent on these elements — these things — being present, assembled and wielded in a particular way. The affordances and constraints of the objects yoked together in the act of production are directly relevant to the phenomenology of the finished product, even if that “product” is a ten-minute excursion in dronespace.
Casting light on the mesh of associations that bring a Pleats Please garment or a SUNN O))) cut into being does tend to construct creativity a little bit differently than we have traditionally been used to, and I think that’s entirely legitimate. Instead of positioning creation as the act of a lone genius, this way of looking at things suggests that the ability to bring novelty forth is, instead, something that’s smeared out across a network of heterogeneous participants, both human and non-human. This is certainly a decentering of the individual designer, but by no means do I necessarily think of it as an insult. It merely suggests that in those domains where creative production does require the enlistment of such ensembles, exceptional designerly talent ought properly be understood as the specific genius of knowing how to activate, and enable the operations of, such an ensemble — something more akin to orchestration than anything else. In this light, there’s still a great deal to be discovered by poking into the specifics of a given ensemble, and asking how each is brought to bear on the task of creation.
For those of us who work primarily in the medium of words, though, the case isn’t as clearcut.
It’s not as if at least some descriptions of the writer’s toolkit aren’t of interest. Here’s John Brunner, in the final words of his 1968 Stand on Zanzibar:
“This non-novel was brought to you by John Brunner using Spicer Plus Fabric Bond and Commercial Bank papers interleaved with Serillo carbons in a Smith Corona 250 electric typewriter fitted with a Kolok black-record ribbon.”
This was a good McLuhanite, speaking to the formal concerns of the Pop moment. That invocation of brands carries along with it a certain zazzy quality, a sense of liberation experienced in and through commodities I associate with Warren Chalk’s 1964 Living City Survival Kit. (In 1968, as four years earlier, you could still plausibly argue that this was fresh and revelatory.) In this case, as it happens, more specific yet is better. So not just any Smith Corona 250, but John Brunner’s Smith Corona 250. It adds something — something ineffable, and if you know anything about Brunner’s life, ineffably sad — to your appreciation of his oeuvre to read what’s on the Dymo-tape labels he affixed to this daily working tool.
But that has more to do with the object as environment, and only invokes the Smith Corona 250’s material properties and other affordances in the rather attenuated sense that its front affords a surface on which to stick a label. This, of course, is a quality it has in common with a great many other objects that might have occupied the same space on Brunner’s desk. And this begins to get to the crux of what I find a little curious about asking writers about their “setup.”
For me, anyway, focusing on getting things just-so is very little other than a way of delaying the moment I actually settle down to do what I need to. Most of us have some such ritual; Matt Jones memorably describes this process of lining up one’s pencils and notebooks (in preference to actually using the former to write in the latter) as “shaving the yak.” I’ll admit that I also find it a little unseemly, at this point in history, to mention specific named brands and commercial offerings. I’m not Warren Chalk, this isn’t London in 1964, and I’m not performing a swingin’ly post-austerity self through my consumption of Canadian Club and Miles Davis sides. So while, yeah, sure, I use such-and-such a text editor, under a given operating system, running on a particular model of laptop, you won’t learn that much about me — or more to the point, develop any particularly salient insight into the structuration of the argument I’m trying to make — by having these specifics revealed to you. The blunt truth of things is that I would almost certainly be expressing these same sentiments were I working in Microsoft Word on the kind of thoroughly generic, commodity Windows machine the “wrong people” use. From this perspective, the ideal setup of tools is nothing but the one that most readily dissolves into intention. ‘Nuff said, yeah?