## Tacita Dean, Jeremy Millar (2005). *Place*. New York, N.Y: Thames & Hudson. > [!INFO] > Type:: [[&]] > Title:: Place > Author(s): [[Authors/Tacita Dean, Jeremy Millar]] > Year:: 2005 > Tags:: > DOI:: > Citekey:: dean_place_2005 > ZoteroURI:: [Open in Zotero: Place](zotero://select/items/@dean_place_2005) > ReviewedDate:: [[2022-10-02]] ## Citation ```latex [@dean_place_2005] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@dean_place_2005]] and -"Plans" and -"resources" ``` ## Summary - ## Other Comments - ### Annotation 1. ‘The question, what is place? presents many difficulties. An examination of all the relevant facts seems to lead to different conclusions. Moreover, we have inherited nothing from previous thinkers, whether in the way of a statement of difficulties or of a solutions. (11) 1. Aristotle, Book IV, The Physics - Place itself can seem a confusing place in which to find oneself, an uncertain place to explore, even with someone to guide us. - it would seem to be difficult to find a major philosopher who has not attempted to answer the question ‘what is place?’, - Our moods, our thoughts, our emotions, our feelings can bring about change here. And we are in no condition to comprehend them. Old traps vanish, new ones take their place; the old safe places become impassable, and the route can either be plain and easy, or impossibly confusing. That’s how the Zone is. It may even seem capricious. But in fact, at any moment it is exactly as we devise it, in our consciousness … everything that happens here depends on us, not on the Zone. - Sometimes it is assumed that we all know what ‘place’ means, perhaps that it even means just one thing. (12) - authors we would suggest - concepts of place than actual geographic ones - Alternately, the word might be used as a synonym for ‘space’ or ‘location’, ‘site’ or ‘territory’, as has been the case in the past, although, as we shall see, this has been for very specific reasons. - this perhaps occurs most often within the genre of landscape 2. In 1993 the Russian artists Vitaly Komar and Alex Melamid began a project entitled The People’s Choice, - It is interesting that landscape is not only the most popular of the major genres within the visual arts, but also the most recent, at least within the Western tradition. - In much Renaissance painting, for example, the landscape is most often only glimpsed through the arches or windows of a securely interior world, - mountains, valleys, rivers forests-were absent from the earth, but rather that they were not considered, collectively, as landscape and so cou ld hardly be represented as such (13) - Landschaft: In the Dark and Middle Ages, Landschaft, the first form of the word, meant a collection of dwellings built within an area of cultivated land that, in turn, 1s surrounded by an unknown - and unknowable - wilderness. - end of the Middle Ages the word was adopted by the Dutch, who transliterated it as landschape, - within Dutch cultural life and, by the seventeenth century, landschap came to refer to an area of land that could be represented by either surveyor or artist, as map or painting. - It was at around this time that in England landschap became landskip, and it was not long before its meaning became something that we might more easily recognize: broad, often elevated, views of rural scenes in which one can see villages and fields, woods and roads. - not a natural feature of the land but rather something man-made - its organization. - ==사실 이건 어느정도는 영국의 정원 문화와 연결되어 있는 것이 아닐까 싶다== - (One might even argue that a landscape ceases to exist if there is no one to look upon it.) - 이러한 주장이야말로 landscape 란 단어가 주로 정원적 아이디어 즉 인공적인 organisation에서 나왔다고 생각할 수 있지 않을까? - A landscape, then, is the land transformed, 3. quote Saint Augustine’s remark: ‘What, then is time? If no one asks me, I know what it is. If I wish to explain it to him who asks me, I do not know.’ - Certainly, place is something more often sensed than understood, an indistinct region of awareness rather than something clearly defined. (14) - ‘Place’ has no fixed identity, as places themselves do not, and has similarly been subject to numerous demands, whether theological or philosophical, political or aesthetic. 4. Many of us would agree with geographer Yi-Fu Tuan’s remark in 1976 that ‘When space feels thoroughly familiar to us, it has become place’. - As Thomas Hardy wrote in The Woodlanders (1887), to belong in a place is to know all about those invisible ones of the days gone by, whose feet have traversed the fields; … what bygone domestic dramas of love, jealousy, revenge, or disappointment have been enacted in the cottages, the mansion, the street or on the green. The spot may have beauty, grandeur, salubrity, convenience; but if it lacks memories it will ultimately pall upon him who settles there without opportunity of intercourse with his kind. - ::만약 monument의 존재 가치가 다만 역사를 증명하는 것만이 아닌 그 장소에서 memories 를 지녀야 하는 것이라면? 아트가 monument가 되는 일은 없는 것이 아닐까?:: - something which, to quote the philosopher Henri Bergson, is ‘lived and acted, rather than represented’. - 사실 갤러리와의 연결점을 끊어낸다는 것은 monument의 연결—기억을 끊어내는 것과 마찬가지이다. Power 권력 아래에서 투쟁을 한다기 보다, 스스로 존재하기 위하여 부모를 벗어나는 것과 같은 행위라고 할 수 있다. - indeed environment as character, and, although a different writer in many ways, the same might also be said of James Joyce. In a preparatory note to Ulysses, Joyce wrote ‘places remember events’, and in this we can recognize how deeply time has become embedded within place, and might be said to have become one of its dominant characteristics. - Hiroshima, Auschwitz, Chernobyl- although despite this, the place does not assume a dominance over the event but seems, instead, to give itself over to it wholly, as though the place can now mean little else. ### 15 2. It is a cruel historical Irony that the very omnipresence of place could not prevent its subsequent domination by the notion of ‘space’, and may very well have contributed towards it. (15) - In the fourteenth and fifteenth centuries, ‘space’ considered in its most expansive sense gradually gained precedence over what was considered the more bounded notion of place. - considered roost suitable for its continued exploration. In pointing towards the increased importance of infinity, place had contributed to its demise twice over: not only was space seen as the more useful concept with which to explore the infinite, but the very things to which place seemed best suited - a sense of belonging, for example - were now considered intellectually irrelevant. The particular had been eclipsed by the universal; space had triumphed over place. 3. As we have already seen, place is an aggregate, the coming together of many disparate elements that can be used for many different purposes, whether it be the establishing of new intellectual foundations, or the undermining of those already extant. - we must recognize not only that there are fundamental differences between place and space, and between place and site, its modern replacement, but also that there are many places within place, many regions, each with their own identities, dialects and dialectics. ### 16 - Space offered infinite extension, and was better suited to exploring the immensities of a universe that was beginning to be revealed by Copernicus and Galileo; #space - NewtonYet despite the arguments between John Locke and Isaac Newton on the one hand, both of whom supported the notion of infinite space and the void, - [[데카르트|Descartes]] and Gottfried [[Gottfried Wilhelm Leibniz|Leibniz]], who fiercely opposed it, on the other, there was a general sense of the diminishing importance of place, or rather, the importance of a diminished place. #place - or rather, the importance of a diminished place. Place was absorbed within space in a distinctly subordinate role, ‘a part of space’ in Newton’s phrase, something of ‘particular limited consideration’ (Locke) in contrast to the seeming unboundedness of space. Distance - and its dependency upon measurement - also contributed to the diminishing of place. - Galileo, Descartes and Locke removed what were seen as the ‘secondary qualities’ of place - such as colour, temperature, and texture - from their enquiries - as none of these could be converted to calculable distances and so were irrelevant to the matter in hand. #place - The fact that we are able, at the beginning of the twenty-first century - (Although) Descartes and [[Gottfried Wilhelm Leibniz|Leibniz]], and· later [[Immanuel Kant]], were immense, and continue to exert their influence, they were unable to raze place completely. For this we should be thankful. - and this in itself demonstrates a refusal to accept the mathematical model of place-as location proposed by such seventeenth- and eighteenth-century philosophers. - [[Gottfried Wilhelm Leibniz|Leibniz]] - As twentieth-century philosopher of science A. N. Whitehead characterised the world after [[Gottfried Wilhelm Leibniz|Leibniz]], ‘nature is a dull affair, soundless, scentless, colourless, merely the hurrying of material, endlessly, meaninglessly’. This is not a form of nature that we would even recognise, much less desire, and the same is true tor the artists and writers of the past three centuries or so, for whom the concept of place has been an all-important part of their work. (17) - When [[Gottfried Wilhelm Leibniz|Leibniz]] makes this relationship more abstract still - now [[becoming]] determinant rather than the measured distance between them - then not only does place become identical to space, but both become reduced to position or site, a ‘simple location’ upon the axes of analytical space. - This is not a form of nature that we would even recognize, much less desire, and the same is true for the artists and writers of the past three centuries or so, for whom the concept of place has been an all-important part of their work. - ::이건 약간은 푸코의 에코처럼 느껴진다. Ancient time을 연결로 해오고 있다는, 모던에 대한 거부, 숫자에 대한 거부로의 아트:: - Jacob van Ruisdael - ![[f71af26180b5b524a35bf3808d9be9ea.5a5e61f30f1847278aa37e29878971f0 1.png]] - Similarly, the poet and painter William Blake forcefully rejected the mechanistic universe of Newton, whom he portrayed as a cold monster measuring out the world, and vilified in verse: - ‘May God us keep / From single vision and Newton’s sleep.’![[6f935316c31b2e0fbe2de2012276fc6f.f83119b8e11f4ff6b876cdd990242410.png]] - Caspar David Friedrich Chasseur in the Forest (1813-14) - not only marks a refusal to accept the impoverishment of nature, and place, proposed by the rationalist philosophers of the period, but also puts forward a different, more generous, approach to engaging with the world. - Ian Hamilton Finlay at Stonypath, just south west of Edinburgh (18) - (His work) Little Sparta, as it not only opens up onto the vistas of the hills beyond, but also onto vistas of memory, contemplation and understanding. - Little Sparta opens up onto its surroundings as both place and art, and so perhaps this is an important mutual characteristic. - to speak of physical limits - boundaries - in such matters is meaningless, and mistakes ‘place’ for ‘site’ and ‘art’ for ‘art object’ - that monetary value is invested, yet its greater value - spiritual, philosophical, emotional, intellectual - must be dispersed elsewhere, (20) - ‘The real voyage of discovery consists in not seeking new landscapes, but in having new eyes’, [[Marcel Proust|Proust]] wrote, and perhaps these are what are required if we are to see the complexities of the places that surround us. (20) - both place and art it can lead us to a greater understanding of both of these things, what we might mean by them and why they might be considered so important. (18) - (Although we aware of how) place has been perceived as in some sense ‘bounded’, particularly in relation to the seemingly endless extension of space, we must reconsider what - it is we mean by this, particularly as it might have some bearing on our understanding of art also. ### 20 1. If place is viewed simply as site, its ‘secondary qualities’ denied, then it becomes easier to destroy it; one cannot mourn what one denied ever being in existence. - Artists are not bound in the same way that property developers are, and so have no need to build upon what is already in place. - Douglas Huebler - created a number of works as part of his Duration and Location series that, with a certain dry humour, explored how we perceive, and represent, time and place. A work he made as a multiple is typical of his practice. (21) - ![[91b464946aff9edff41dd76bc5e10787.c51b92ff55324ccabfd7bee88f37aa52.png]] - However, the artist’s activities do not prevent us from attempting to reconnect mentally the pictures - and places - with the characteristics described. - ![[b6061cd997116420a602d23eca3f3877.83ee0fbce43f4c3f915eb685459ede62.png]] - ![[83c0c9c2a89322fd4360e7abeb489614.6b2b62742e674792a4e934f701accbaf.png]] - ![[b8bb3fbf520b9b1ebeaf63b523d0a2fc.14e338c9cb484b9795bb21425209d2da.png]] - ![[d3ac739a1dacdd66bb4b3e6a198f55de.264fdf9d58dd4a9d9da76f1f3a30bc58.png]] * Huebler has created a rich and delicate work that asks us to consider the difference between what we believe to be our relationship to a landscape, and what we would like to believe that relationship to be. (23) - Dan Graham or Joachim Koester, Doug Aitken, or Jane and Louise Wilson, Rom Horn or Alexander and Susan Maris, Graham Gussm or Mette Tronvoll. (25) - Dan Graham - ![[fb53de2ccc77bf74ff4288fc11197c45.c6876550fb4e4e0891652bbdbe70ef69.png]] - Joachim Koester - ![[1645b5052ab389751340424bfbdc2064.22a2e4069d50455aa5a18c58b915dc1f.png]] - ![[287810cbd71be518ca8cbe6f27f9dbea.dc52ca09534846219754d1a794c8d691.png]] - Doug Aitken - ![[34b4d51b4da1aa6e2b8065e97679a6ac.39c8b0d04f944d8896d9d33fd45e2f96.png]] - Jane and Louise Wilson - ![[df1f22d552c72ade7d1731a51301c2ab.ee70dbaac77046368c22ff880d224861.png]] - Graham Gussm - ![[e4afdfcde34a01fa414a056494316185.f9782c06e029486abc0b926509fe8490.png]] - Mette Tronvoll - ![[94109e8ba819e2aa60a49acac1ca9cdc.7811780a49794adb8b84f7d39b481c50.png]] - by the French artist Marine Hugonnier. In her film Ariana, - We would suggest that the filmmaker comes to recognize something that many of the artists included in this book have recognized too, and that is the profound limitation of the visual. - That such considerations have emerged during an enquiry into 'place' is perhaps not surprising, as here too the visual attains a certain prominence without ever being able to engage fully with the subject. - Not that every place that is made is art, however; but to make art (which is also to think about it) is to make place (26) 1. ‘The difficulties that we run into are like those we would have with the geography of a country for which we have no map, or only a map of isolated places …. We may freely wander about within the country, but when we are compelled to make up a map, we get lost. The map will show different roads which lead through the same country and of which we could take any one at all, but not two.’ [[Ludwig Wittgenstein]] ### Related ```dataview LIST FROM [[@dean_place_2005]] and -"Plans" and -"resources" ```