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Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement

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Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Shapins, Jesse Moss. 2012. Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:10984871 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement A dissertation presented By Jesse Shapins To The committee on Architecture, Landscape Architecture, and Urban Planning in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Architecture Harvard University Cambridge, Massachusetts November, 2012 © 2012 – Jesse Shapins All rights reserved Dissertation Advisor: Professor Antoine Picon Jesse Shapins Professor K. Michael Hays Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement Abstract This dissertation theorizes the genre of the urban database documentary, a mode of media art practice that uses structural systems to uncover new perspectives on the lived experience of place. While particularly prominent in recent decades, I argue that the genre of the urban database documentary arises at the turn of the 20th century in response to the rise of the metropolis and the widespread adoption of new media technologies such as photography, cinema, and radio. This was a time when the modern city engendered significant disorientation in its inhabitants, dramatically expanding horizontally and vertically. The rampant pace of technological development at this time also spawned feelings of dehumanization and the loss of connection to embodied experience. The urban database documentary emerges as a symptomatic response to the period’s new cultural conditions, meeting a collective need to create order from vast quantities of information and re-frame perception of daily experience. The design of structural systems became a creative method for simultaneously addressing these vast new quantities of information, while attending to the particularities of individual experience. For media artists, building a database into the aesthetic design of a work itself offers an avenue for creatively documenting the radical multiplicity of urbanized environments, preserving attention to the sensory experience of details while aspiring to a legible whole. Crucially, I argue that the design of these systems is a vital form of authorial agency. By reading these artists’ work in relation to contemporary practice, I aim to make transparent the underlying, non-technical ambitions that fuel this distinctive mode of media art practice. iii Table of Contents Acknowledgements Prologue Introduction: Mapping the Urban Database Documentary i. Urban ii. Database iii. Documentary iv. Utopia v. Kaleidoscopic Perception vi. Sensory Estrangement vii. Authorship and Agency Section I: Kaleidoscopic Perception i. The Urban Database Documentary and Kaleidoscopic Perception Chapter 1: The City Symphony as Urban Database Documentary i. The City Symphony: At the Crossroads of the Algorithm and Automation ii. The City Symphony and the Photographic: Distilled Algorithms and Animated Lists iii. Reading the Panorama of Moscow in Moscow: The Actuality and the Archival Impulse iv. Mapping Moscow: Intertitles as Database Identifiers v. Urban Database Documentary’s Transparency: Exposing the Data Structure before Open APIs Chapter 2: New Kaleidoscopes and Urban Imaginaries i. ABCDF: The Dictionary as Database and Urban Kaleidoscope ii. The Path through the Finite and Infinite: ABCDF in the Context of Hypertext, "openness" and "Works of Movement" iii. A Media Archaeology of Place: The Urban Database Documentary in an Expanded Field of Media Artifacts iv. Urban Imaginaries, Kaleidoscope Perception and the Database Documentary v. Exiting the Kaleidoscope Section II: Sensory Estrangement i. The Urban Database Documentary and Sensory Estrangement Chapter 3: Sound, Space and Embodied Sensation in the Urban Database Documentary i. Ruttmann's "Blindness": Towards New Radio Geographies iv ii. Montage, Documentary Arts and the Sensorium: Weekend in the Context of the European Avant-Garde iii. The City as Database of Sensory Experiments in Ruttmann and Vertov iv. Urban Database Documentary and Innervation Chapter 4: Deep Mapping Networked Landscapes i. Deep Mapping and the Avant-Garde ii. PrairyErth: A Deep Map of the American Prairie iii. Walking On, Below and Above the Grid iv. Deep Mapping the Often-Overlooked and “herky-jerky” Temporality v. The Center for Land Use Interpretation’s Database of Sensory Estrangements vi. The Politics of Deep Mapping and Database Documentary Aesthetics vii. Janet Cardiff’s Walks of Sensory Estrangement viii. The Performative City ix. Synaesthetic Urbanism Section III: Authorial Agency i. Authorial Agency in the Urban Database Documentary Chapter 5: Database Design and Layers of Authorial Agency i. Challenging Urban Imaginaries in The Colors of Berlin ii. Yellow Arrow and the City as Read/Write Database iii. Mapping Main Street iv. From Dziga to Zeega v. Towards a Critical Urban Media Arts Appendices i. Bibliography ii. Filmography v Acknowledgements This work is a reflection of over a decade of intimate collaboration with many dear friends. It’s hard to pinpoint when I first started thinking about issues that would become the urban database documentary, but I know there were many immense fertile conversations in college while living with lifelong friends Christopher Allen, Brian House and Justin Wall. My undergraduate thesis advisors — Andreas Huyssen, Sudhir Venkatesh and Joeb Moore — were also instrumental. Following college, these ideas gestated while living and working in Berlin. There, I had the incredibly good fortune of working with Philip Schwarz and Celia Di Pauli on The Colors of Berlin, my earliest foray into database design. When I moved back to New York in 2004, I began working on Yellow Arrow, re- connecting with Christopher and Brian, and joining up with Michael Counts, Howard Pyle, Jonathan Stern and many others. It was during this time that I also first met Christina Ray and Mark Shepard, two colleagues whose work in locative media has played a vital role in my own practice. And it was during Yellow Arrow that I also first started working with Kara Oehler, now my life partner, long-time creative collaborator and a voice throughout all of these pages. At the same time as Yellow Arrow, Christopher and I started UnionDocs, a center for documentary arts in Brooklyn that has been a vital source of documentary discourse and practice. Over the years, late night conversations with Johanna Linsley, Hilke Schellman, Katrina Grigg-Saito, Steve Holmgren, Thomas Zummer and the many participants in the collaborative program directly influenced my thinking. I moved to Cambridge in 2007 to begin a Ph.D. I attended the GSD to work with Margaret Crawford, and our early dialogues on everyday urbanism and imagination are braided vi into these pages. During my first year, Susan Fainstein shared incredible insights while I began exploring these topics; Eve Blau’s course on Transparency lead to the original research on Janet Cardiff; and Peter Gordon’s course on Weimar Intellectuals provided a perfect environment for critically examining Walter Ruttmann’s work and Weekend. That first year, I also was exceptionally fortunate that Yuri Tsivian was teaching a course on Dziga Vertov, the context in which I first learned about Moscow and the breadth of Vertov’s work. And, remarkably, Scott Macdonald was visiting that year, as well, and we shared many crucial dialogues on city symphonies. The PhD program at the GSD is uniquely interdisciplinary, and this incredible diversity of peers has been vital. I am grateful for the many dialogues shared with all of my colleagues at the GSD and related departments, especially Ivan Rupnik, Brian Goldstein, Olga Touloumi, Lara Belkind, Joe Bender, Maxim Pozdorovkin, Jeremy Blatter, Dan Borelli, Mariana Mogilevich, Jennifer Mack and Hugo Van Vuuren. Pedagogical experiments were a crucial domain for developing elements of this dissertation. I am incredibly grateful to Laura Kurgan, who gave Brian House and I the remarkable freedom to invent the course Critical Urban Media Arts at Columbia in 2008. That course — a hybrid seminar and studio, that combined research in urban theory with media art practice — proved a format that modeled my dissertation research itself. As I began to fully develop my dissertation, I started to work with an incredible group of advisors. Antoine Picon was so generous in serving as my primary advisor, shepherding what was once a myriad collection of fragmented thoughts into a (hopefully) coherent argument. I am so grateful he took me on as a student and was constantly moved by how deeply he engaged the project. Michael Hays constantly pushed me to take risks and imagine my own theoretical vii structure, encouraging me to thoughtfully meander outside of conventional formats.
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