Street Archive [USA]

sf_richmond_02DIT

San Francisco #001

 

mandog_galveston

Galveston #001

 

project_galveston_CROP

Galveston #010

 

Picture 020

San Francisco #012

 

walgreens_sf_01

San Francisco #002

 

Picture 004

San Francisco #003

 

Oakland01

Oakland #001

 

SouthSanfran02

South San Francisco #002

 

Berkeley01

Berkeley #001

 

Galveston06

Galveston #006

 

Santacruz01

Santa Cruz #001

 

Galveston02

Galveston #002

 

Sanfran011

San Francisco #011

Picture 022

San Francisco #013

 

Emmeryville01

Emmeryville #003

 

Galveston08

Galveston #008

 

Galveston03

Galveston #003

 

Emmeryville02

Emmeryville #002

 

Galveston04

Galveston #004

 

Galveston05

Galveston #005

 

Galveston07

Galveston #007

 

Monterey04

Monterey #004

 

Sanfran007

San Francisco #007

 

Sanfran005

San Francisco #005

 

Sanfran008

San Francisco #008

 

Monterey01

Monterey #001

 

Sanfran009

San Francisco #009

 

LosAngeles

Los Angeles #001

 

Monterey02

Monterey #002

 

Monterey03

Monterey #003

 

LasVegas03

Las Vegas #003

 

LasVegas04

Las Vegas #004

 

Oakland02

Oakland #002

 

 

Galveston11

Galveston #011

 

LasVegas01

Las Vegas #001

 

LasVegas02

Las Vegas #002

 

Sanfran006

San Francisco #006

 

Sanfran010

San Francisco #010

 

Notes on the Flâneur

As a member of the crowd that populates the streets, the flâneur participates physically in the text that he observes while performing a transient and aloof autonomy with a “cool but curious eye” that studies the constantly changing spectacle that parades before him (1).

As an observer, the flâneur exists as both “active and intellectual” (2).

As a literary device, one may understand him as a narrator who is fluent in the hieroglyphic vocabulary of visual culture. When he assumes the form of narrator, he plays both protagonist and audience–like a commentator who stands outside of the action, of whom only the reader is aware, “float[ing] freely in the present tense” (3).

The flâneur has no specific relationship with any individual, yet he establishes a temporary, yet deeply empathetic and intimate relationship with all that he sees–an intimacy bordering on the conjugal–writing a bit of himself into the margins of the text in which he is immersed, a text devised by selective disjunction (4).

 

(1) Rignall, J. Benjamin’s Flâneur and the Problem of Realism. The Problems of Modernity: Adorno and Benjamin. ED Andrew Benjamin. London. Routledge 1989

(2) Burton, R.  The Flâneur and His City. Durham : U of Durham P, 1994.

(3) Mellencamp, P., Last Seen in the Streets of Modernism. East West Film Journal, 1988

(4) Baudelaire, C. The Flowers of Evil. Ed. Marthiel and Jackson  Mathews.  Trans. C. F. MacIntyre. New York : New  Directions, 1989

One comment

  1. Pingback: Update: Street Archive [USA] | Mark Adams

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