41 Matching Annotations
  1. Nov 2015
  2. learn-us-east-1-prod-fleet02-xythos.content.blackboardcdn.com learn-us-east-1-prod-fleet02-xythos.content.blackboardcdn.com
    1. the chimneys of all the rooms onthe fourth story were too narrow to admit the passage of a human being

      is this because of a lack of space?

    2. Our seclusion was perfect. We admitted no visitors. Indeed the locality ofour retirement had been carefully kept a secret from my own former associates;and it had been many years since Dupin had ceased to know or be known inParis. We existed within ourselves alone.

      forced anonymity in the city

    3. Books, indeed, were his sole luxuries, and in Paris these are easily obtained.

      interesting to think about the function of intellectuals in a city. what cities carry the image of places harboring these types of people? I certainly view Paris and many European cities as locations of intellectuals, but in American cities, I never really think of that.

    1. This change of weather had an odd effect upon the crowd, the whole of which wasat once put into new commotion, and overshadowed by a world of umbrellas.

      How does weather affect the city and city life? Not just through function, but also appearance (light, etc.)?

    2. still it seemed that, in my then peculiar mental state, Icould frequently read, even in that brief interval of a glance, the history of long years.

      he is reading the people as a way of understanding their past and the past in general. is this actually possible given the short intervals at which he sees these people? I do like the idea that there is more to a "glance" at someone, but maybe this is looking a little too closely at something? He could falsely interpret someone?

    3. I descended to details, andregarded with minute interest the innumerable varieties of figure, dress, air, gait, visage, andexpression of countenance.

      Poe is a spectator here, but because he is involved with and at the level of the people, he also serves as part of the spectacle.

    4. the tumultuous sea of human heads

      viewing the streets as the sea; there is an order within the disorder of the movements, or waves, of people

  3. gimmeshelter2015.files.wordpress.com gimmeshelter2015.files.wordpress.com
    1. ~~nderstood the ~~111-~~l~l'.llb!ic wo':!;~ public spectacle.

      this goes along with the theme of utopia

    2. Moses was destroyin~-.. 2?~.-~ld, yet he seemed to be Working in tlie name of values that we. 0'-;'.E,----~--c--d ---~ Selves em~

      he may have been working in the name, but not each name, just the collective name

    3. modern men

      gender specific; enforces the question of who the subject of the text is supposed to be

    1. The worst problem parks are located pre.cisely wh.ere ~eople do not pass by and likely ~eyer will .

      I'm not sure this is entirely accurate?

    2. Unpopular parks are troubling not only because of the waste and missed opportunities they imply, but also because of their frequent negative effects. They have the same problems as streets without eyes, and their dangers spill over into the areas surround-·ng so that streets along such parks become known as danger 1 Ia~es too and are avoided.

      Think about the overwhelming police presence on streets surrounding unpopular parks; this is certainly a reaction to the danger they inspire.

    3. But people do not use city open space just because it is there and because city planners or designers wish they would.

      relates to our discussion on using space as it was not originally prescribed

    4. They tend to run to extremes of popu-larity and unpopularity

      This is extremely true; when walking within a mile of my dorm, I encounter probably 5 or 6 parks, with 3 or 4 nearly vacant and Washington Square and Union Square overflowing with people. I think size and monuments play a part in this, as people are visually stimulated by the arch but do not care for the benches or walkways found in other parks. How much do size and visual stimulation play a part in the popularity of parks?

    1. The huddled masses of New Y ?rk City had a far more powerful enemy. It was wealth-vast, entrenched, Im-pregnable wealth-and the power that went with it.

      How has the concept of wealth played a part in the shaping of New York and other urban cities? How does it aid to the dynamic power structure at play? We haven't really looked at this yet.

    2. They could esc~pe the Cit~, and, mo~e Im-portant, they could free their children for a t~me from Its clutc~es, they could take them boating and hiking and campmg, ~ould. ro~m With them through fields and forests, sprawl with them eatmg picntc lunches on blankets. They could let them do the things that they t?emselves h~d done so seldom when they were children.

      Having the potential to escape does not always lead to exercising that opportunity; in actuality, the fact of having that opportunity oftentimes leads to a sedentary lifestyle. "there's always next weekend" comes to mind when reading these sentences.

    3. lungs for the city,

      goes along with the idea that congestion and crowdedness in urban environments can cause stress, and that escaping to a natural setting allows for potential relaxation and reflection

  4. Oct 2015
  5. apartmentstories2016.files.wordpress.com apartmentstories2016.files.wordpress.com
    1. Enough will have been gained if dwelling and building have become worthy of questioning and thus have remained worthy of thought.

      Heidegger wants to inspire conversation about ideas of dwelling, where people are aware of their actions and relationships to the urban city. This is the goal of his piece: to bring dwelling to the forefront of discussion, not to press his ideas on the matter, but to spark a dialogue on the unfamiliar topic.

    2. When we speak of man and space, it sounds as though man stood on one side, space on the other. Yet space is not something that faces man. It is neither an external object nor an inner experience.

      Then what is it? I cannot seem to pinpoint what Heidegger means by space; he only highlights what it is not, yet there is no concrete example of what space is. Does he view space as purely abstract?

    3. residential buildings do indeed provide lodgings; today's houses may even be well planned, easy to keep, attractively cheap, open to air, light, and sun, but-do the houses in themselves hold any guarantee that dwelling occurs in them?

      This is where I think Heidegger's views on Dwell magazine are shown best. Dwell shows the "open to air, light, and sun" and "well planned" aspects of these lodgings, but ignores the actual idea of dwelling; I think Heidegger's focus is on the dwelling, not the structures themselves, whereas Dwell focuses on the actual structures, not the act of dwelling.

    1. As a form of enunciation, walking has its own rhetoric. The trajectories, shortcuts, and detours taken by passers-by are turns of phrase and stylistic figures.

      interesting to think of a pedestrian as an artist. if there is one destination that many different people have to get to, the way in which they get there will likely be different. these differences are what allow the pedestrian to be an artist

    2. As practitioners and observers, flâneur and detectives are always working at street level, with partial knowledge. They never operate solely from an imaginary position of an all-seeing, penetrative eye hovering ‘above’ the city. They are always also urban bodies.

      So is it useless for city planners to not be from the city or spend significant time in the city? Is it essential to be this urban body to create a successful city?

    3. The pedestrian subject reads/writes the city as an everyday user of place, producing space – writing the actual city – in the process.

      How much of a city is produced by the people who inhabit it? How much by the city planners? Who has control?

  6. Sep 2015
    1. extremes of ambition and degradation, brutal oppositions of races and styles, contrasts between yesterday's buildings, already trans-formed into trash cans, and today's urban irruptions that block out its space.

      the city as both opposition between forces and reflections of forces onto one another; this contributes to the idea that the city is overwhelmingly complex, which is a theme that the authors of Unfathomable City address in their introduction.

    2. It is the analogue of t e acstmlle produced, through a projection that~ay of keeping 93 f by the space planner urbanist, cit lanner or carto ra her.

      To what degree is the city a fictional representation created by an individual? Do the space planners or cartographers have power over the viewer because they have created or represented what is seen?

    3. To walk is to lack a place. It is the indefinite process of being absent and in search of ~The moving about that the city multiplies and concentrates makes the city itself ~n immense social experience of lacking a place

      Tuan would see this as walking through space in a continuous search for place. place, here, is what this author considers "the proper"

    1. Long residence enables us to know a place intimately,yet its image may lack sharpness unless we can also see it fromthe outside and reflect upon our experience.

      This is exactly what Didion and DeVore did when writing about New York from Los Angeles!

    2. Space is experienced directlyas having room in which to move

      What do you call somewhere where there is no space? Does such a place, in literal terms, exist?

    3. openness, freedom, and threat of space

      space is described as having openness and freedom, words commonly associated as positive, and threat, a word that carries a negative connotation. this displays the complex nature of space

  7. gimmeshelter2015.files.wordpress.com gimmeshelter2015.files.wordpress.com
    1. Not only is the city an object which is perceived (and perhaps enjoyed) by millions of people of widely diverse class and char-acter, but it is the product of many builders who are constantly modifying the structure for reasons of their ow

      the city is so specific to the individual; we could all be living in the same city, seeing the same things, but experiencing them in entirely different ways

    2. To become completely lost is perhaps a rather rare experience for most people in the modern city.

      this conversation is not even applicable to current society. it has shifted from rather rare to impossible through usage of smartphones (iMaps, subway apps, etc.)

    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

      people are drawn to things that feel like "home," whatever that means to them. when moving to the city, they may try to control the city so as to fit their expectations and make it feel like their past reality.

    1. minutiae

      the small, precise, or trivial details of something

    2. I would stay in New York, I told him, just six months, and I could see the Brooklyn Bridge from my window. As it turned out the bridge was the Triborough, and I stayed eight years.

      the naive outsider who is lured into New York

    3. "but where is the school-girl whp used to be me," and if it was late enough at night I used to wonder that.

      ties in with the idea of the confidence men and the city as a home to corruption...everyone seems to adapt to a more scandalous or nontraditional life in the urban atmosphere

    1. the total enslavement of his victim.

      is this diction too extreme? "enslavement" and "victim" seem to be exaggerating

    2. liml!la.i

      liminal: occupying a position at a boundary or threshold

    3. rustic hero entered [the city] to seek fame and fortune."

      goal of outsiders coming into urban environment

    1. It’s cold. You’re broke. Dad’s dead. It hurts.

      ties in with the Coming Bachelor Girl and the themes of finding success in the city and independence; you must struggle before finding success and be financially independent to really experience the pains of the urban environment

    2. Money is Jesus.

      common theme in all writing about specifically New York...ex: rent is insanely high, everything is more expensive

    3. Isn’t that why you moved to New York? To be original?

      Interesting how everyone comes to the city to be original, but because everyone is doing essentially the same thing, there really is no originality at all?