37 Matching Annotations
  1. Nov 2015
    1. At no moment did he seethat I watched him.

      The anonymity of the city serving as an advantage when observing and speculating.

    2. The street was a narrow and long one, and his course lay withinit for nearly an hour, during which the passengers had gradually diminished to about that numberwhich is ordinarily seen at noon in Broadway near the Park—so vast a difference is there between aLondon populace and that of the most frequented American city.

      The comparison of city populations and the ways that the city inhabitants behave in their differing cities. Is London more restless than New York? What does that say about the British and about the Americans?

    3. "How wild a history," I said to myself, "is written within that bosom!"

      The experiences people have stay with them as they "write" the city, and inadvertently affect and influence how others "write" the city, too.

    4. With my brow to the glass, I was thus occupied in scrutinizing the mob,

      Seems like a sort of wordplay, where he is scrutinizing the "mob" under a magnifying glass, since he picks them apart by placing judgments upon them based on every aspect of their appearance.

    5. As the night deepened, so deepened to me the interest of the scene; for not only did thegeneral character of the crowd materially alter (its gentler features retiring in the gradual withdrawalof the more orderly portion of the people, and its harsher ones coming out into bolder relief, as thelate hour brought forth every species of infamy from its den,) but the rays of the gas-lamps, feebleat first in their struggle with the dying day, had now at length gained ascendancy, and threw overevery thing a fitful and garish lustre. All was dark yet splendid

      I have observed firsthand that at nighttime, the city transforms - everything looks different. The fact that this is a common and somewhat startling and exciting observation is really interesting to me.

    6. I looked at the passengers inmasses, and thought of them in their aggregate relations. Soon, however, I descended to details, andregarded with minute interest the innumerable varieties of figure, dress, air, gait, visage, andexpression of countenance.

      A modernist method of looking at people... then an anti-modernist view of looking at people.

    7. At this particular period of the evening I had never before been in a similar situation, andthe tumultuous sea of human heads filled me, therefore, with a delicious novelty of emotion.

      This overwhelming emotion that overcomes a person who has never seen so many people in one urban setting - similar to how most people feel when they visit NYC for the first time.

    8. With a cigar in mymouth and a newspaper in my lap, I had been amusing myself for the greater part of the afternoon,now in poring over advertisements, now in observing the promiscuous company in the room, andnow in peering through the smoky panes into the street.

      He has been entertaining himself by being a spectator for most of the afternoon.

  2. learn-us-east-1-prod-fleet02-xythos.content.blackboardcdn.com learn-us-east-1-prod-fleet02-xythos.content.blackboardcdn.com
    1. Then we sallied forth into the streets, armand arm, continuing the topics of the day, or roaming far and wide until a latehour, seeking, amid the wild lights and shadows of the populous city, thatinfinity of mental excitement which quiet observation can afford.

      An interesting juxtaposition of the roles of spectator and actual inhabitant of the city, "writer" of the street in the terms of de Certeau.

    2. We existed within ourselves alone.

      The pair created a sense of community in the city without any true community, just the two of them.

    1. The ability of a neighborhood park to stimulate passionate at-tachment or, conversely, only apathy, seems to have little or noth-ing to do with the incomes or occupations of a population in a ~stri~t. ~s is an inferenc.e which can be drawn from the widely differmg mcome, occupanonal and cultural groups who are si-multaneously deeply attached to a park like New York's Wash-ington Square. The relationship of differing income classes to given parks can also sometimes be observed in sequence over time, either positively or negatively.

      "How to Live in a City" really connects to so many parts of this text. Yet another quote that relates: "Why Washington Square Park is successful as an urban open space: so many different kinds of people find so many different things to do there." Washington Square Park values these differences and plays upon them with its location. It abides by the guidelines that a city is built around, "For the city is not built for one person, but for great numbers of people, of widely varying backgrounds, temperaments, classes and creeds..." according to Obraz Miatsa/Kevin Lynch's video, "Image of the City."

    2. Every fine summer night, television sets can be seen outdoors, used publicly, on the busy old sidewalks of East Harlem. Each machine, its extension cord run along the sidewalk from some store's electric outlet, is the informal headquarters spot of a dozen or so men who divide their attention among the machine, the children they are in charge of, their cans of beer, each others' comments and the greetings of passers-by. Strangers stop, as they wish, to join the viewing. Nobody is concerned about peril to the machines.

      Another connection to a quote from the video "How to Live in a City:" "Nobody has yet designed a city open space quite so universally used and appreciated as the stoop. It is both public and private. You aren't missing anything. By just sitting there, you have the feeling that you belong to the neighborhood, and it belongs to you." I find this interesting that people do not want to gather together indoors to watch television, but gather outdoors to involve their neighborhoods, too. Parks are very formal gathering spots and I believe that this is why the stoop works - it is informal and cozy and very friendly.

    3. Conventionally, neighborhood parks or parklike open spaces are c~nsidered boons conferred on the deprived populations of cities. Let us turn this thought around, and consider city parks de-prived places that need the boon of life and appreciation conferred on them.

      Connected to a quote in the video "How to Live in a City" from earlier in the semester: "People in the city have a desperate need to be a part of their surroundings, to personalize them... Neighborhood identity must be found beyond these bleak facades." People rely on these spaces just as much as the spaces rely on them; it is a very dependent relationship.

    1. And the pencil kept sketching. The mind leaped on. It took as its compass not an island but a state.

      The motivation and creation of these city "reformers" and planners are highlighted in this passage, as they strive to create something bigger than an idea and change a landscape completely.

    2. Now red bricks, like those that had imprisoned the Lower East Side in tenements, were being cemented into walls in Brooklyn's remaining green fields,

      "Imprisoned" has negative connotations and exposes the author's tone towards city expansion

    3. Parks had always been a concern of reformers who were fond of referring to the need for "breathing spaces for the slums"

      Connects to my point in class on Monday about city planners believing they know "what is best" for the public, and how we are always in search of a solution to dwelling.

  3. Oct 2015
    1. Traditionally, a woman walking the streets is a ‘street walker’ – ‘all body’ – part and symbol of the spectacle and decadence of urban culture. Women have historically been represented as an “interruption in the city, a symptom of disorder, and a problem”

      Women are seen as objects of the city, not urban bodies as other inhabitants are seen, and their experience is erased in terms of space and place in urban environments.

    2. the flâneur is traditionally a middle-class, masculine subject of leisure whose privileged position shields him from the curiosity of the crowd

      The privilege of patriarchy embedded even in the context of space and place

    3. They are returned from a relatively invisible, dis-embodied position of anonymous observer to their place as a body in the crowd, becoming spectacle for others, an everyday ‘common man’, one of the ‘masses’ once more.

      I found this statement very interesting, sort of "Inception"- like, that we are observers but are also being observed by other observers inhabiting the city, creating a perpetuous cycle of observing.

    1. causes the ;:n triOn o 1 s own possibility-space itself-to be forgotten; space ~ . thus becomes the blind spot in a scientific and political technology.

      Cities are made as a place and hold an infinite amount of places - however, it is being said that in the construction of cities, space itself is being forgotten, and it soon becomes simply a place with not many spaces.

    2. The rdinary prac · · ers f the city live "down below," below the thresholds at which isibiJ'ty egins.

      This suggests that the inhabitants of the city, the "ordinary practitioners," are not a part of the city's "imageability" or "visibility."

    3. New York has never learned the art of growing old by playing on all its pasts.

      What do we think New York would be like if it has "grown old" like Rome, and has maintained somewhat the same look as it had hundreds of years ago? Would the attraction to the city be just as grand?

  4. Sep 2015
    1. "Space" ismore abstract than "place."

      This may be because space is an emptier concept than place. When "place" is spoken aloud, what is visualized is a tangible thing, for example a building. When "space" is spoken aloud, what is visualized is emptiness and openness, often in vast contexts.

    2. Experience has a connotation of passivity; the word suggestswhat a person has undergone or suffered.

      The experienced city dwellers are the ones writing the passages we have read in class, reflecting on their personal experiences or touting their knowledge as their "experience." Does this mean that they have suffered at the hand of the city, if the connotation rings true?

    3. Berlin, too, gave Tillich afeeling of openness, infinity, unrestricted space

      Similar to Tracy's quote about NYC/Brooke in Mistress America: "Being in New York, it made you want to find life, not hide from it."

  5. gimmeshelter2015.files.wordpress.com gimmeshelter2015.files.wordpress.com
    1. a legible city would be one whose districts or landmarks or pathways are easily identifiable and are easily grouped into an over-all pattern.

      Again, the stressed importance of the "districts, edges, paths, nodes and landmarks" that were emphasized in "Image of the City"

    2. the apparent clarity or "legibility" of the cityscape

      Juxtaposed with the "imageability" of the urban environment discussed in "Image of the City"

    3. Nothing is experienced by itself, but always in relation to its surroundings, the sequen.ces of events leading up to it, the mem-ory. of past experiences.

      Said in the video "How to Live in a City:"

      "People in the city have a desperate need to be a part of their surroundings, to personalize them... Neighborhood identity must be found beyond these bleak facades."

    1. New York will briefly study my face and mutter “Who the fuck are you?" 

      The anonymity of living in NYC, no matter how long your stay

    2. Avoid the romantics

      Ditching the romanticized images of NYC - central theme linking all of our readings

    3. that New York is a giant meatgrinder extruding tons of chewed up dreams.

      Connection to The Coming Bachelor Girl: "...come on to New York... and no place offers greater discouragements against that success until it has become assured."

    1. I still believed in possi-bilities then, still had the sense, so peculiar to New York, that something extraordinary would happen any minute, any day, any month.

      Dorot writes in The Coming Bachelor Girl: "You must work, work, work, or else you never will be that 'something' that sounds more vague and not one half so grand as the years crawl dismally along."

      Didion makes a very vague statement about the "extraordinary" and "possibilities" that align with the mindset of the coming bachelor girl Dorot was advising directly.

    2. I enter a revolving door at twenty and come out a good deal older, and on a different street.

      Older seems to have a wearied connotation in this use; implications of the city shaping her and displaying her "malleability"

    3. That first night I opened my wi1dow on the bus into town and watched for the sky-line, but all I could see were the wastes of Queens and the big sig s that said MIDTOWN TUNNEL IBIS LANE

      Didion's romanticized image of New York begins to fade almost as quickly as she arrives

    1. America was passing through a critical period when its character was not yet formed,

      Similar to the youth that traveled to the city in search of "something more"

    2. the malleability of the youthful character.

      The basis of the confidence man's motives and the source of the authors of the advice manuals' anxieties

    3. the youth's urban companion. He was the stranger who approached the young man just entering--the city, at the precise moment when all familial and communal re-straints were falling away. The urban stranger began his confidence game with an offer of friendship:

      The type of confidence man seen in Glance At New York (ex: Jake, Mike)