Psychogeography with Kids in Paris


On Wednesday I arrived in Paris with my family after setting out for Los Angeles alone that morning. I realise that this sentence comes across as both pretentious and preposterous but I hope to redeem myself by steering this in the direction of the heartland of French psychogeography.

We were in Paris to visit some my wife’s friends who live in Canberra (true and yet another dimension to what could also be a missive on ‘time-space compression – but isn’t). Los Angeles – well that’s better left unsaid.

After some of the usual family-friendly fun at the Natural History Museum perusing their collection of dusty old bones laid out like a Damien Hirst installation (that sentence would work in reverse if I were writing about Hirst – of course the museum was there long before BritArt) we allowed ourselves to drift through the frozen streets. Children are natural psychogeographers and flaneurs. They live for the moment, are completely guided by their senses and desires, and are inherently iconoclastic and anarchic prepared to challenge conventional norms with virtually every step. And we had four of them of various ages between us.

So I reckon it was the kids rather than the Paris-born Mathew who led us to Rue Mouffetard. It rang a bell, I think from the Will Self vs Iain Sinclair event at St. Lukes in 2004. As Mathew sat us down in the traditional café of Le Mouffetard, I asked him whether there was any link to Debord. He confirmed that it was in fact an area with Situationist associations, as later confirmed by this passage from The Situationist City by Simon Sadler:
“Situationsists regarded the best urban activity as human, unmechanised, and nonalienating, and their texts, films, and maps indicated some possibilities, variously idealising the marketplaces, like Les Halles or the Rue Mouffetard, the traditional cafes, notably those around Saint-Germain-des-Pres, and the places of student congregation, such as those around the Pantheon” (p.92).

He led me up the street to Place De La Contrescarpe where Debord frequented the cafes – possibly whilst plotting dérives that he got too soaked to carry out. I would have a cheesy photo to mark the occasion had I not by now have been carrying my youngest child.

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Indeed Debord mentions the location in the Introduction to a Critique of Urban Geography: “Is it illogical or devoid of interest to observe that the district in Paris between Place de la Contrescarpe and Rue de l’Arbalète conduces rather to atheism, to oblivion and to the disorientation of habitual reflexes?”
I was going to note how strange it was that a family outing should find its way to this exact location with such psychogeographical resonance, but this would be to ignore the articulations at work in the urban realm – particularly when guided by children.

The photo at the top is of the Memorial de le Deportation

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Iain Sinclair in the Lea

Just been sat in The Heathcote reading the excellent article by Robert Macfarlane about a “circumambulation” of the Olympic Park with Iain Sinclair. The inspiration seems to have been as much to visit the sites in Stephen Gill’s photographic record of the site in his book ‘Archaeology in Reverse’, as it was to be guided through this well trodden edgeland by the man who arguably put it on the psychogeographical map, Iain Sinclair (since the publication of ‘London Orbital’ in which Sinclair walks up the Lea Valley with fellow celebrity psychogeographer Bill Drummond, you can barely toss a paper aeroplane made from a LPA newsletter in the vicinity of the Lea without hitting a pot-bellied anorak wearing pale-faced fella with a satchel and a notebook). It’s impressive that their tour of the Olympic Park should start in Kings Cross a good 2-3 miles away. But maybe this was to induce a fugue-like state by the time the zone was reached. At that point Sinclair says to Macfarlane, “Right, are you ready for the zone? From here on in it’s pure Tarkovsky.” An although he’s referring to the landscape he could also be referencing the way that Gill’s photographs, taken on a 50p camera, call to mind Tarkovsky’s book of polaroids in the way they capture smudged light over blighted panoramas.

Although Macfarlane doesn’t express it as such, the very nature of the circumambulation is a significant ritualistic act – one again made famous by Sinclair’s M25 trek. When we started the Remapping High Wycombe project we performed the same rite – stalking the contested zone, the redevelopment site (see research video below). Our journeys radiated out from here but always as perimeter hugging drifts, so by looking in from the edge we gain a new perspective on the subject – a motive found in Andrew Kotting’s Gallivant and Jonathan Raban’s Coasting.

It’s interesting that Macfarlane picks up on Gill’s awareness of the activities of the surveyors, the advance guard of any development, and their “street graffiti” spray painted on the ground. He brilliantly describes the way that you are drawn to their strange markings, “you become suspicious of their heavy encryption, the landscape of interventions that they annotate and enable”.

He talks about the “improvised ecologies” among the rust and pollution in the way that Nick Papadimitriou talks of “unofficial ecology parks” sprouting in the corners of disused parking spaces. And the title of Gill’s book ‘Archaeology in Reverse’ calls to mind a phrase that I purloined from a review of Keiller’s ‘Robinson in Space’ of ‘archaeology of the present’.

This is great topographical writing and its connection to what is already an entry in the catalogue of disappearance and the use of a ritualistic circling seems to be further evidence that work such as Gill and Sinclair’s (and mine and many other practitioners), call it psychogeography of deep topography or whatever, is a kind of cognitive behavioural therapy for dealing with a unsympathetic re-rendering of our environment. Unable to stop the abuse we resort to a form of relief, a way of making sense of it, and working out the pain, as Nick says in ‘Inside Deep Library’ that like standard therapy, you must embrace the pain in order to move forward.

For further evidence of the dubious activities of the ODA see this vid I made about the destruction of Marsh Lane Fields

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A Medway Cryptotopography

How did I miss the Hidden Medway blog for so long – utter negligence. Even allowing for the author’s natural reticence towards publicity (he posts comments on this blog using various pseudonyms) I should have come across it during my research for Reframing Maidstone. Particularly as I undertook a field trip in Maidstone with the blogger himself. Anyway it’s brilliant and I think a true example of cryptotopography – a notion I floated when we were working on Remapping High Wycombe – but here I think we have the truest example.

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In praise of Brixtongue

Googling around on the net I found this listing on the BBC website for the poetry/comedy/music night I ran and MC-ed at Brixton Art Gallery

BRIXTONGUE
Saturday July 12th at 7pm
Brixton Art Gallery, 35 Brixton Station Road, London SW9
Admission £4, (£3 concessions)
Info: 07986 357 156 / 0207 733 6957
A Brixton style blend of poetry, music and comedy hosted by MC John Rogers. performers include: Russell Brand, Courtney, Fatema, Lara Macardle, Al Brunker, Jay*Star, Paradox, Phenzwaan, Sheila Stocking & drummers, Sista Vision and Zhana. Also Reggae from Zinc Fence

It must be from 2002 or early 2003 as I remember those drummers used to keep us going to the early hours of the morning. They were often great nights, aside from my old mucker Russell delivering some unforgettable stand-up sets and witnessing the development of Mr Gee into the stellar performer he is today we also had semi-legeendary comedian Nick Revel, readings from Brixton Bard Alex Wheatle and a host of other great talents.
And of course this is where I stole the name for my blog from – Brixtongue being the winner of the competition to name the night on the first gig back in February 2002 – Lara Macardle’s Mum came up with it.
Sadly Brixton Art Gallery has closed – another victim of gentrification but the night lives on at the Red Gate Gallery

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