Re: [-empyre-] hello

>The beauty of older industrial areas in particular is the layers of
exposed infrastructure, thus exposed layers of manufacture in time, of
media, technology, of forms and tools of certain eras, and there is a
coexistance.  The connection in my mind in a way is to punctuation as
much as it is bones .....the font from 1938 and a steam pipe, the the
comma to slow pedestrain traffic  of a rail tie from 1906 half a block
away, the way people move in spaces in flow patterns with partial
controls, the same way language and speed and rhythm flows are partially
controlled by the mediation of punctuation controls......yet there is
flux and unpredictability. The dual city idea is more of how they exist
simultaneously and with things in between as well.  The material is there
as it is simultaneously invisible, and the artist also can play against
mediation and control in the sense that they can choose what layers to
expose and/or emphasize and what juxtapositions and contextual commentary
they want to agitate and adress with physical place and information that
 may not only augment, but question, collide, throw into contrast etc...

the flaw in vr is that is one place......and one is aware of being in

> I wonder about liminal or interstitial spaces in relation to this; it
> seems there aren't dual cities but continuums; what's below becomes above,
> what's above becomes below. On Dean St. in Bklyn there are cesspool
> kitchen middens from at least 150 years ago, urban archaeologists
> specializing in this among other strees, displays and redisbursements of
> underground goods, not to mention manhole explosions, the underground
> first subway tunnel in the world (1846) just two short blocks away... I
> tend to think of integrated/disintegrated systems, partial systems, part-
> objects, all in contribution; the virtual doesn't just float _here_ in
> this space, but is within us as well - alan
> On Wed, 1 Sep 2004 wrote:
>> Hello all.
>> There are dual cities in any cityspace.  One is the immediate forms and
>> function, what is occuring at that time.  Another city also exists in
>> the
>> same space; the semiotically charged space to be "read" is the unseen
>> data
>> layers within a city and in time.  Archaeology is not only to dig in
>> soil
>> and rock to uncover physical artifacts, but to be utilized by artists as
>> well as writers to discover the resonating layers of data and artifacts
>> of
>> lost facts and moments.  There are so many physical spaces that are
>> waitng
>> to be read.  History is in layers, architecture in a space is in
>> layers(unless all built at same time of course!).  It is fascinating to
>> think of places like Venice, Italy where it is literally being consumed
>> by
>> the beauty of the sea and the soil beneath it (the city was built on a
>> spongelike soil and marsh composite that is compressing over time even
>> as
>> sea level rises).  How would this translate to layers of different
>> times?
>> Of Venice itself as it changes, how would sound and metaphor interpret
>> the
>> very physicality of it?
>> Jeremy Hight
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