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“Placeways is a philosophical and historical interpretation of the experience and meaning of place. Searching for a way of knowing and living in the world that does not fragment experience or exploit the environment, E. V. Walter explores the way people in other cultures and other times have experienced place. The book develops Walter’s theory of topistics – a holistic way of grasping a place as the location of shapes, powers, feelings, and meanings. Exploring the common ground of such diverse fields as philosophy, history, urban planning, classics, cultural geography, architecture, sociology, and environmental psychology, Walter provides theoretical resources for readers who want to rescue the human environment from the loss of feeling and meaning. Walter discusses a wide variety of places, from prehistoric caves, the Australian desert, and classical Greece to medieval towns, Renaissance cities, and modern slums. He examines the changing realities of expressive space and reveals the nonrational, symbolic, and intuitive features in our experience of places – elements taken for granted by archaic peoples but discounted by modern civilization. The current crisis of environmental degredation, according to Walter, is also a crisis of places. For the first time in human history, people are systematically building meaningless places. If we are to comprehend and reverse the ruin and dislocation of our cities, we must develop another way of understanding the built environment and the natural landscape. True renewal, Walter says, will require a change in the way we structure experience and a return to an ancient paradigm for understanding both the natural land and the constructed world.”

Text and image reproduced from https://www.amazon.co.uk/Placeways-Theory-Environment-V-Walter/dp/0807842001 (accessed 01/10/22)

Performative Installation

Measuring the Universe, Roman Ondák

  1. The event aspect of performativity [the moment, now] is linked to the materiality of an installation in through simultaneousness of action/experience, or the event aspect of artistic production [performance] continues to take effect within the installation.
  2. Performativity is a constitutive part of the installation
  3. The installation alone is what generates the performativity
  4. A Performance Installation has its own individual context; by means of the performative elements it embraces the live elements of the external context and thereby incorporates categories from everyday routine and life.
  5. The extent of the performativity of an installation in terms of its appearance cannot be completely predicted or controlled here. Performative Installation thus unites within itself presence and representation, ephemeral and static elements, event and duration and immateriality and materiality. The direct effect and the indirect work enter into a synthesis. In a Performative Installation the dialectics of subject and object are annulled. Both are given a new common identity here.

Text quoted from performative installation, Angelika Nollert, 2003:pp.13

Image reproduced from http://artjetset.com/2009/08/30/roman-ondak-performative-installation-at-moma-2/. For more information about the work at MOMA 2009 click here