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…Frank Loyd Wright['s] design for Broadacre City … was based both on his wholesome appreciation of the hygienic and domestic values of rural life, and his Jeffersonian contempt for the many-sided corporate and institutional life of the city. In the name of the first, he was ready to shrink the acreage of productive soils and break down the special human values of the rural landscape, with the functional divisions of meadow, pasture, and woodland, of cultivated land and wild land, in order to give every house and family a subsistence garden; and he was no less ready to break down the natural coagulations of life in villages and country towns, in a new fashion that made every social activity call for long distance transportation and therefore the incessant use of the motor car….The high price of such remote lots automatically turns the farmer into a real-estate speculator, and results, as in California, in the slaughter of orchards, vineyards, and market gardens that once gave both health and delight–to say nothing of fresh food–to the nearby urban communities.

… the anti-city combines two contradictory and almost irreconcilable aspects of modern civilization: an expanding economy that calls for the constant employment of the machine (motor car, radio, television, telephone, automated factory, and assembly line) to secure both both full production and a minimal counterfeit of normal social life; and as a necessary offset to these demands, an effort to escape from the over-regulated routines, the impoverished personal choices, the monotonous prospects of this regime by daily withdrawal to a private rural asylum, where bureaucratic compulsions give way to exurban relaxation and permissiveness, in a purely family environment as much unlike the metropolis as possible. Thus the anti-city produces an illusory image of freedom at the very moment all the screws of organization are being tightened….

Because the anti-city is by nature fragmentary, any part can be built by anybody anywhere at any time. This is the ideal formula for promoting total urban disintegration.

Not the least factor in this development, certainly in America, is the persistent residue of the curious pioneer belief in space and mobility as a panacea for the ills of social life…. [which] is the current doctrine of space for space’s sake…. This has become the “space age” with a vengeance: in architecture space has become a substitute for urbane design….

No secondary modes of intercourse, neither the printed page, the telephone, nor television, can take the place of that direct face-to-face intercourse whose occasions the city, when it remains close to the human scale, multiplies. Without an urban container deliberately planned for such intercourse, the dominant economic and technical pressures of our time tend to form a multitude of over-specialized, non-cooperating, and non-communicating enclaves, whose spatial remoteness and social segregation favor the totalitarian automatism of our time….

Though the isolated institutional parts might be as hyper-productive as those computers whose data is already too abundant to be assembled and interpreted, the cultural creativity that fosters further human development is bound to drop, within a generation or two, toward zero.

– Lewis Mumford, “The Megalopolis as Anti-City” [c.1962-3]. In Jeanne M. Davern (ed.). Lewis Mumford. Architecture as a Home for Man: Essays for Architectural Record. New York: Architectural Record Books, 1975, pp. 121-128.

“But  while architectural changes in the window were coincident with changes in perspective in modern painting early in the twentieth century, the media of film and television retained  a perspectival frame through the “modern” period. The moving image offered  multiple perspectives through the sequential shifts of montage and editing; yet, aside from a few historical anomalies, it has only been with the advent of digital imaging technologies  and new technologies of display in the 1990s that the media “window” began  to include multiple perspectives within a single frame.

Now, a variety of screens — long and wide and square, large and small, composed of grains, composed of pixels — compete for our attention without any (convincing) arguments  about hegemony.”

Anne Friedberg, “The Virtual Window” in Rethinking Media Change: The Aesthetics of Transition, ed. David Thorburn and Henry Jenkins. (Cambridge, MA: MIT Press, Kindle Edition, 2003), 4710-4714. (Cambridge, MA: MIT Press, Hardcover Edition, 2004), pp. 347-348.

it is happy lifestyle and me
it is happy ideas and me
it is transparent pleasures and me
it is transparent manners and me
it is fresh appetite and me
it is fresh love and me

memories of blue past
all dumped in ink bottle

From Kitasono Katue’s poem, “Semiotic Theory” (1929). Translated by John Solt. In oceans beyond monotonous space: selected poems of Kitasono Katue. Hollywood, CA: Highmoonoon Books. 2007, p. 22.

Moving pictures are evanescent by nature; in Nigeria, they have a particularly lurching, fragile existence. Nollywood films have little supporting material culture around them, and so when the electricity goes off, there is not much to look at. Still they shape the national imagination, building their empire in people’s heads.

Jonathan Haynes. “Nollywood in Lagos, Lagos in Nollywood Films.” Africa Today 54, no. 2 (2007): 131-50.

It makes sense … to reconsider nostalgia not as blindness but as sightfulness, which completes the modern experience of time with its insistent perception of disaster and its empathy to strangers stranded in the present.

Peter Fritzsche. “Specters of History: On Nostalgia, Exile, and Modernity.” The American Historical Review 106, no. 5 (2001): 1592.

… consuming is no joke, well-wishing and helpful, the whole of society is with you, and considerate into the bargain, for it thinks of you, personally, it prepares for you specially pesonalized items; or better still, these items are delivered to your personalizing free will to be used at your leisure: this armchair, these assembled elements, this bed-linen, this underwear; this and not that. We had misjudged society; all of us; it is maternal and fraternal; our visible family is duplicated by this invisible one, better and especially more efficient, the society of consumption that showers its consideration and protective charms on everybody. Who can be ungrateful enough to be uneasy?

The swivels turn at ground level. Consuming of displays, displays of consuming, consuming of displays of consuming, consuming of signs and signs of consuming; each sub-system, as it tries to close the circuit, gives another self-destructive twist, at the level of everyday life.

– Henri Lefebvre. Everyday Life in the Modern World. New York: Harper & Row, 1971: 108-109.

America, you have it better
than our continent, the old one,
you have no ruined castles
and no basalts.

Your inner self is not troubled,
when it is time for living,
by pointless memories
and futile strife.

Use the present fortunately!
And if your children write verses,
may a happy fate protect them
from tales of knights, brigades and ghosts.

– Johann Wolfgang von Goethe, “To The United States”(1831), Franco Moretti, trans. In Franco Moretti. Modern Epic: The World-System From Goethe to García Márquez. London ; New York: Verso, 1996, 35.

The Hagley Postcards of Motels and Roadside Attractions Collection, contains a postcard of the original location and possibly first building of the first hotel in the Holiday Inn hotel chain. An archivist notes that the inn was “designed to be clean and predictable.” On the back of the card includes the text, “450 Rooms – 450 Baths – 100% Air-Conditioned – Steam Heat – Pleasure Eating – Bridal Suite – Free Swimming Pool for Guests Only. Your Host from Coast-to-Coast.”

… modernity is always citing primal history…. Ambiguity is the appearance of dialectic in images, the law of dialectics at a standstill. This standstill is utopia and the dialectical image, therefore, dream image. Such an image is afforded by the commodity per se: as fetish. Such an image is presented by the arcades, which are house no less than street. Such an image is the prostitute — seller and sold in one.

Walter Benjamin, “Paris, the Capital of the Nineteenth Century” in The Writer of Modern Life: Essays on Charles Baudelaire (Cambridge, MA: Belknap, 2006), p. 41.

… you know, all my work, literally and figuratively, fits into a valise . . . 

–Marcel Duchamp, 16 Dec. 1954.Cited in Dalia Judovitz, “Duchamp’s ‘Luggage Physics’: Art on the Move.” Postmodern Culture, Volume 16, Number 1, September 2005.

Box in a Valise (From or by Marcel Duchamp or Rrose Sélavy) 

Marcel Duchamp. Box in a Valise (From or by Marcel Duchamp or Rrose Sélavy). 1935-41. Leather valise containing miniature replicas, photographs, color reproductions of works by Duchamp, and one “original” drawing [Large Glass, collotype on celluloid, 7 1/2 x 9 1/2" (19 x 23.5 cm)], 16 x 15 x 4″ (40.7 x 38.1 x 10.2 cm). James Thrall Soby Fund. © 2008 Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp.

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