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rhythmanalysis.html
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<!DOCTYPE html>
<head>
<title>rhythmanalysis</title>
<meta name="viewport" content="width=device-width, initial-scale=1.0">
<link rel="stylesheet" href="./styles/styles.css">
<style>
* {
box-sizing: border-box;
}
.row2 {
display: -ms-flexbox;
display: flex;
-ms-flex-wrap: wrap;
flex-wrap: wrap;
padding: 0 0px;
}
.column2 {
-ms-flex: 33%; /* IE10 */
flex: 33%;
max-width: 33%;
padding: 0 4px;
}
.column2 img {
margin-top: 8px;
vertical-align: middle;
width: 100%;
}
@media screen and (max-width: 700px) {
.column2 {
-ms-flex: 50%;
flex: 50%;
max-width: 50%;
}
}
.column3 {
-ms-flex: 50%;
flex: 50%;
max-width: 50%;
padding: 0 4px;
}
@media screen and (max-width: 650px) {
.column3 {
-ms-flex: 100%;
flex: 100%;
max-width: 100%;
}
}
.tab {
overflow: hidden;
/* border: 1px solid #ccc;*/
/* background-color: #f7f5fc;*/
}
.tab button {
background-color: inherit;
float: auto;
border: 1px solid #ccc;
outline: none;
cursor: pointer;
padding: 10px 12px;
transition: 0s;
font-family: 'Gill Sans', 'Gill Sans MT', Calibri, 'Trebuchet MS', sans-serif;
font-size: 15px;
font-weight: lighter;
}
.tab button:hover {
background-color: #dcdae3;
}
.tab button.active {
background-color: #ccc;
}
.tabcontent {
display: none;
padding: 3px 3px;
}
/* for 15 min city image set */
.image-row {
display: flex;
}
.image-column {
flex: 25%;
padding: 5px;
}
div.column12 {
-ms-flex: 50%;
flex: 50%;
max-width: 50%;
padding: 0 2px;
}
/*main column takes full page width for NARROW display*/
@media screen and (max-width: 1000px) {
div.column12 {
-ms-flex: 100%;
flex: 100%;
max-width: 100%;
padding: 0 2px;
}
}
/*text blocks paragraph margins on computer WIDE screen*/
/*changed max-width to adjust page margins; using page margin properties in div column object broke sticky contents side nav*/
@media screen and (min-width: 1001px) {
div.column12 {
-ms-flex: 100%;
flex: 100%;
max-width: 65%;
padding: 0 0px;
}
}
</style>
<!--style for image sitation deck-->
<style>
/*CARD DECK*/
/*styling for card set deck*/
img {
vertical-align: middle;
}
/* Position the image container (needed to position the left and right arrows) */
.container {
position: relative;
}
/* EACH SUBSEQUENT SLIDE DECK MUST BE DECLARED A NEW VARIABLE, AND SLIDE INDEX RENAMED AS WELL */
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/* The dots/bullets/indicators */
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.dot1 {
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.dot2 {
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.dot3 {
cursor: pointer;
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.active, .dot1:hover {
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.active, .dot3:hover {
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</style>
</head>
<body>
<!--Navigate Elsewhere-->
<div>
<div id="mySidenav" class="sidenav">
<a href="javascript:void(0)" class="closebtn" onclick="closeNav()">×</a>
<a href="./disorientation.html">disorientation</a>
<a href="./practice.html">practice</a>
<a href="./interference.html">interference</a>
<a href="./tactics.html">tactics</a>
<a href="./rendering.html">rendering</a>
<a href="./superposition.html">superposition</a>
<a href="./rhythmanalysis.html" style="color:#e46c39">> rhythmanalysis</a>
<br>
<a href="./index.html" style="font-size:13px">FRONT_MATTER</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io/blob/main/rhythmanalysis.html" style="font-size:13px" target="_blank">CODE_SIDE </a>
</div>
<div id="main">
<span style="font-size:16px;cursor:alias" onclick="openNav()">☰ navigate elsewhere>></span>
</div>
<script>
function openNav() {
document.getElementById("mySidenav").style.width = "250px";
document.getElementById("main").style.marginLeft = "250px";
}
function closeNav() {
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document.getElementById("main").style.marginLeft= "0";
}
</script>
</div>
<br><br><br>
<!--menu-->
<div class="tab" style="text-align:center;">
<button class="tablinks" onclick="openRhythm(event, 'plaza')">the plaza</button>
<button class="tablinks" onclick="openRhythm(event, 'abstract-to-concrete')">abstract to concrete</button>
<button class="tablinks" onclick="openRhythm(event, 'balcony-imaginaries')">balcony imaginaries</button>
<button class="tablinks" onclick="openRhythm(event, 'bridge')">granville bridge</button>
<button class="tablinks" onclick="openRhythm(event, 'new-animal')">new animal</button>
<button class="tablinks" onclick="openRhythm(event, 'signs-of-protest')">signs of protest</button>
<button class="tablinks" onclick="openRhythm(event, 'find-the-drift')">find the drift</button>
<button class="tablinks" onclick="openRhythm(event, 'no-gods-no-masters')">no gods no masters</button>
<button class="tablinks" onclick="openRhythm(event, 'tracing-as-placing')">tracing as placing</button>
</div>
<br>
<br>
<!--the plaza-->
<div id="plaza" class="tabcontent">
<div style="margin:auto; text-align:center;">
right-click and choose "open in new window" to enlarge any image.
</div>
<div class="row2" style="margin-left:5%;">
<div class="column2">
<img src="./media/sites/plaza/plaza_20220205.jpg" style="width:100%">
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<img src="./media/sites/plaza/plaza_20230102.jpg" style="width:100%">
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</div>
</div>
<br>
<div style="margin:auto">
<video controls autoplay muted style="width: 45%;" src="./media/sites/plaza/morrisons_plaza.mp4"></video>
<br>Learning a tune from ear on the viola during a break
</div>
<br><br><br>
</div>
<!--balcony imaginaries-->
<div id="balcony-imaginaries" class="tabcontent">
<div class="column12" style="margin:auto">
<div style="height:300px; overflow:scroll; width:80%; margin:auto">
<img src="./media/commonplace/Lefebvre1996_37.png" >
<p >from Lefebvre, Henri. 2013. <i>Rhythmanalysis: Space, Time and Everyday Life.</i> Translated by Gerald Moore and Stuart Elden. Bloomsbury Publishing Plc. https://doi.org/10.5040/9781350284838.</p>
</div>
</div>
<br>
<a id="balcony-top"></a>
<div class="row2">
<div class="column2">
<img src="./media/sites/balconies/downtown1.jpg" style="width:100%">
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<img src="./media/sites/balconies/fairview15.jpg" style="width:100%">
<img src="./media/sites/balconies/mountpleasant5.jpg" style="width:100%">
<img src="./media/sites/balconies/fairview17.jpg" style="width:100%">
<img src="./media/sites/balconies/downtown2.jpg" style="width:100%">
<img src="./media/sites/balconies/mountpleasant8.jpg" style="width:100%">
<img src="./media/sites/balconies/mountpleasant13.jpg" style="width:100%">
<img src="./media/sites/balconies/downtown6.jpg" style="width:100%">
<img src="./media/sites/balconies/westend5.jpg" style="width:100%">
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<img src="./media/sites/balconies/westend9.jpg" style="width:100%">
<img src="./media/sites/balconies/downtown9.jpg" style="width:100%">
<img src="./media/sites/balconies/downtown10.jpg" style="width:100%">
<img src="./media/sites/balconies/downtown15.jpg" style="width:100%">
<br><br>
</div>
<div class="column2">
<img src="./media/sites/balconies/yaletown2.jpg" style="width:100%">
<img src="./media/sites/balconies/fairview12.jpg" style="width:100%">
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<img src="./media/sites/balconies/kits1.jpg" style="width:100%">
<img src="./media/sites/balconies/mountpleasant1.jpg" style="width:100%">
<img src="./media/sites/balconies/mountpleasant6.jpg" style="width:100%">
<img src="./media/sites/balconies/sandman.jpg" style="width:100%">
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<img src="./media/sites/balconies/eastpointgrey1.jpg" style="width:100%">
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<img src="./media/sites/balconies/coalharbor5.jpg" style="width:100%">
<img src="./media/sites/balconies/downtown11.jpg" style="width:100%">
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<span style="font-weight:400; font-size:12pt">GRANVILLE BRIDGE</span><br>
Pressing my chest against the Granville Bridge I feel at once its trembling vibration and my own heart’s rapid beating. I embody a sonic superposition: vibrational waves overlap; interfere; combine. The rhythm of their resulting wave marks a pattern of interference, also called a diffraction pattern. Through visceral encounter, I become entangled with the infrastructure which, heretofore, I had approached only as an instrument from whose abstracting vantage I could conduct rhythmanalysis of the field below.
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from de Certeau, Michel. <i>The Practice of Everyday Life. </i>Translated by Steven Rendall. Berkeley: University of California Press, 1984.
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<span style="font-weight:400; font-size:12pt">THERE'S A NEW ANIMAL IN TOWN</span> In January 2023 I first became aware of the Amazon Van’s backup sound. It’s unlike any vehicle beep I’ve ever heard. Short and aggressive, it's like the grunt of a rooting pig. Or the cry of a Steller's jay. It’s so distinctive that no matter how far away the van and faint the sound, my ears will sense it and immediately associate sound to source. I involuntarily think of Amazon like 6 times a day now.
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<span style="font-weight:400; font-size:12pt">SIGNS OF PROTEST</span><br>
"The critical power of graffiti lies in its <i>surfacing</i>: it ruptures the processes of political edification and it frames the situated surfaces of specific edifices upon which it makes its marks." — Avramidis 2023, in <i>Place writing, site drawing</i></p>
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Much of my fieldwork has involved navigating Vancouver, my empirics emerging as inextricable layerings of sensorium, affect, and infrastructure. Alongside practicing and theorizing deep mapping, during my thesis research I have worked as a Teaching Assistant for a departmental cartography course, completed GIS research assistance, and performed freelance cartography. I also continue to work in the university library Research Commons, where I teach and consult on geospatial matters as well as develop and/or facilitate workshops on mapping and geographic information systems (GIS). One of the workshops I led last summer was on building walkability indexes with QGIS (“Network Analysis,” n.d.). Geospatial data are data for which a locational property, such as coordinate or street address, is measured. A walkability index is a quantitative assessment of the relative accessibility of amenities within a delineated area. The library's workshop assumed as its empirics geospatial datasets which render the city down from above as a collection of points, lines, and polygons. Indeed, it was possible to make the index without any reference to on-the-ground, everyday navigations. Given geospatial data representing Vancouver's city blocks, population density, and amenities, GIS provides the tools to analyze proximity and connection, as well as visualize the result through a map.
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Around the same time as I was preparing the walkability workshop, I began noticing these '15 minute City <span style="font-weight:400">Ready</span>' stickers popping up along the Vancouver greenway, a stretch of the old Canadian Pacific railroad that's been transposed into a designated pedestrian and bike path. Conceptualized by city planner Carlos Moreno, the '15 minute city' is the idea “that cities should be designed or redesigned so that, within the distance of a 15-minute walk or bike ride, people should be able to live the essence of what constitutes the urban experience: to access work, housing, food, health, education, culture and leisure” (Moreno 2020). Over the course of the spring, more stickers appeared, pasted over DO NOT ENTER EXCEPT BICYCLES signs and those yellow/black striped hazard markers. At the same time that the stickers began proliferating east, west, and even across the bridge into downtown, they also began being scratched off. Reapplication, however, was swift. Then I sighted something different: at first one then two sites, scrawled in blue sharpie over '15 minute City <span style="font-weight:400">Ready</span>' was the declaration RESIST.
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[photo evidence captured between march and august 2023 on cellphone by
Quinn, ordered chronologically]
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But resist what? Well it turns out the '15 minute City <span style="font-weight:400">Ready</span>' stickers are actually in protest of the ‘15 minute city’ — the decal’s chain-link background representing enforced limited mobility. I sighted the first sticker just days after being introduced to the ‘15 minute city’. Conceptualized by <a href="https://www.ted.com/talks/carlos_moreno_the_15_minute_city?language=en">Carlos Moreno (2020)</a>, “the idea is that cities should be designed or redesigned so that within the distance of a 15-minute walk or bike ride, people should be able to live the essence of what constitutes the urban experience: to access work, housing, food, health, education, culture and leisure.” This led me to think about how proximity and connection in the city are measured, imagined, and experienced. What are the processes of datafication that determine ‘input values’ and ‘walkability scores’? To the workshop’s description of network analysis I included the invitation to ponder: <i>In what ways do walkability indexes render partial representations? Who and what is not accounted for by the data?</i> The location and surface of the stickers' placement on bikeway signage is significant. The signification of protest comes to matter through the stickers’ material-semiotic interference with infrastructural boundary demarcations. City signs become palimpsests — sites of super/im/position signaling contested urbanisms.
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Following the proliferation of these signs of protest, I began thinking about the ways spatial data are made differentially legible by technoscientific and affective orientations to engaging/representing place, producing geographic knowledge, and rendering spatial research public through maps and textual publications. The technoscientific and affective orientations I am specifically thinking about are Cartesian cartography and Geographic Information Systems (GIS) on the one hand, and sensory and embodied spatial methodologies/practices broadly construed on the other. This is <i>not</i> to say there is a clear demarcation between the two, that there are only these two orientations, or that either camp is homogenous. I have been a practitioner of both long enough to know this is not the case. Rather, I am interested in patterns of presuppositions – required postulates even – that differentially correspond to what's hailed as "top-down" or "bottom-up" mapping practices. How are empirics made legible as data by the apparatuses that produce them? How are technoscientific and affective orientations to ‘what counts as data’ co-constitutive of an empirical account of the city? I am particularly invested in how the apparatuses through which differential embodiment is constituted effect different possibilities for knowing. This is something I intend to further study through diffractive mapping during my PhD.
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Early April 2022, Quinn and I are walking along a familiar street and see, resting amongst the regular fairy pebbles and kitsch that decorate the bases of so many chestnut trees in this neighborhood, a box of chalk. It’s an open-ended invitation to which we respond by pausing to draw colorful forms on the sidewalk. “Very affirming” comments a passerby as they smile and skirt around us. In this moment, we transformed an otherwise pedestrian space into a place of interest, using what mediums surround us to engage with the city and its passersby.
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Days later we walked the same sidewalk and saw the weathered impression dissolving back to
abstraction. I wonder how many soles picked up pieces of chalk and how far our art walked with them.
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Finding the drift began with this sticker I found on an electrical box beside the pollinator park on 5th and Pine. FIND THE DRIFT//CROSS THE FENCE//REPORT ALL SIGNS//.
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It was May 2023, right before my interlocutor's going away party themed <i>signs</i>. She studies trespass and has been mapping proliferation of trespass signs across the city. How iconic, I thought. I practice dérive, or drifting about the city, allowing myself to be pulled by affective contours. For so long I looked and looked for more of these stickers. It was distinctive in that it was three statements, all caps, and a serif font. But for months I saw nothing. Then, late that summer on a bikeride all the way across town neighborhoods away I saw another.
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I encountered no more for many months. Then, in the fall and winter, more appeared back around 5th and Pine. They were closely concentrated, within a few blocks from the first sign. Never on dumpsters. Sans serif this time, but with the same phone number as in East Van (the area I found the 2nd cluster earlier in the summer). They were always on metal surfaces like municipal boxes, poles, and front/backs of street signs.
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In the time after finding the first sign, before I begin encountering the admittedly more ominous ones, I made my own stickers. I stuck them nearby the first sign, and elsewhere around the city.
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This spring, 2024, the first sign and my contribution were sadly taken down.
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I had stopped looking for more until just last week — July 2st, 2024, I found two new stickers a block away from 5th and Pine.
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In February 2024, I first began noticing anarchist/labor-rights slogans printed in alternating upper/lower case <span style="font-family:'Courier New', Courier, monospace;"> courier typeface</span> on what seemed to be paper sticker labels. Small, less than the length of my index finger, they were inconspicuous rallies. Most often adhered to green metal lampposts or the poles for crosswalk buttons.
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February 7th, 2024 — I had my first encounter during a walk around False Creek. On the pedestrian overhang above the Fish Market I noticed the little sticker between the metal railings: NO GODS NO MASTERS.
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March 17th, 2024 — The following month I had my second encounter. On another walk, just beyond where I'd spotted the first sticker on a lamppost near the Museum of Vancouver: NO GODS NO MASTERS.
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May, 2024 — at a crosswalk on my way to Greens grocers: free Palestine
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June 11th, 2024 — on a lammpost on my block: workers of the world/ UNITE!
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June 11th, 2024 — on a lamppost at the major intersection of 7th and Cambie: free Palestine
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June 13th, 2024 — on a lamppost also near home: WORKERS OF THE WORLD! UNITE!
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When I tried sending a photo of the 'free Palestine' sticker from my Android phone, I got a warning: May contain sensitive information. I have never gotten this warning before, and it did not appear when I selected various other images to share, only the one containing the printed words 'free Palestine'. -->
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On a walk along False Creek, around/cross Vanier Park and then back along Chestnut Street today, July 1st, I encountered many more stickers! Click through to see....
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<span style="text-align:center;">The next day, July 2nd, I spotted a whole lot more along the same route...</span>
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<span style="font-weight:400; font-size:13">TRACING AS PLACING</span>
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Reading Barad (2007) and de Certeau (1984) through one another, I believe place and space to be phenomenal expressions of the world differentially articulated through trace and practice. In <i>The Practice of Everyday Life</i> (1984), Michel de Certeau relationally articulates space and place with the following: "<i>space is a practiced place</i>" (117, emphasis in original). He writes,
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<span style="font-size:13px;">from de Certeau, Michel. 1984. <i>The Practice of Everyday Life.</i> Translated by Steven Rendall. Berkeley: University of California Press.</span>
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Google’s map of Vancouver abides by the law of the "proper". It produces the city as a place wherein each element has a distinct location. Position is made determinate by a spatial configuration which "excludes the possibility of two things being in the same location (<i>place</i>)" (de Certeau 1984, 117, emphasis in original). Such a static, Cartesian coordination allows for navigation to be routed (by Google) from one element to another. The navigational possibilities, however, remain determined (and constrained) by the law whose logic governs this map: follow streets, not alleys; walk on sidewalks; don’t jay-walk; turn right here, not at the next block. Disorientation is a destination not found by Google Maps, which asks in response, "Should this place be on Google Maps?" ("Google Maps" n.d.).
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<span style="font-size:13px;"> Screenshot of Google Maps search for 'disorientation'. Google maps responds: Google Maps cant find <i>disorientation</i>. Click <a href="https://www.google.com/maps/search/disorientation/@49.2564613,-123.1824201,12z?entry=ttu" target="_blank"><b>here</b></a> for same search.
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Lefebvre, Henri. “Right to the City.” In <i>Writings on Cities,</i> translated by Eleonore Kofman and Elizabeth Lebas. Cambridge, Mass: Blackwell, 1996.
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