WALKING IN THE CITY
N TH I S R E M A R K A B LE E S S AY, carefully poised between poetry and semiotics, Michel de Certeau analyses an aspect of daily urban life. He presents a theory of the city, or rather an ideal for the city, against the theories and ideals of urban planners and managers, and to do so he does not look down at the city as if from a high-rise building – he walks in it. Walking in the city turns out to have its own logic – or, as de Certeau puts it, its own “rhetoric.” The walker individuates and makes ambiguous the “legible” order given to cities by planners, a little in the way that waking life is displaced and ambiguated by dreaming – to take one of de Certeau’s several analogies. This is a utopian essay: it conceives of the “everyday” as different from the official in the same way that poetry is other to a planning manual. And it grants twentieth-century urban experience, for which walking is a secondary form of locomotion (usually a kind of drifting), the glamor that a writer such as Walter Benjamin found in the nineteenth-century leisured observer or flâneur. “Walking in the city” has been very influential in recent cultural studies just because of the way that it uses both imagination and technical semiotic analysis to show how everyday life has particular value when it takes place in the gaps of larger power structures. Further reading: Ahearne 1995; de Certeau 1984; Harvey 1985; Lefebvre 1971; Morris 1990; Rigby 1991.
WAL KING IN THE CIT Y
Seeing Manhattan from the 110th floor of the World Trade Center. Beneath the haze stirred up by the winds, the urban island, a sea in the middle of the sea, lifts up the skyscrapers over Wall Street, sinks down at Greenwich, then rises again to the crests of Midtown, quietly passes over Central Park and finally undulates off into the distance beyond Harlem. A wave of verticals. Its agitation is momentarily arrested by vision. The gigantic mass is immobilized before the eyes. It is transformed into a texturology in which extremes coincide – extremes of ambition and degradation, brutal oppositions of races and styles, contrasts between yesterday’s buildings, already transformed into trash cans, and today’s urban irruptions that block out its space. Unlike Rome, New York has never learned the art of growing old by playing on all its pasts. Its present invents itself, from hour to hour, in the act of throwing away its previous accomplishments and challenging the future. A city composed of paroxysmal places in monumental reliefs. The spectator can read in it a universe that is constantly exploding. In it are inscribed the architectural figures of the coincidatio oppositorum formerly drawn in miniatures and mystical textures. On this stage of concrete, steel and glass, cut out between two oceans (the Atlantic and the American) by a frigid body of water, the tallest letters in the world compose a gigantic rhetoric of excess in both expenditure and production.
Voyeurs or walkers
To what erotics of knowledge does the ecstasy of reading such a cosmos belong? Having taken a voluptuous pleasure in it, I wonder what is the source of this pleasure of ‘seeing the whole’, of looking down on, totalizing the most immoderate of human texts. To be lifted to the summit of the World Trade Center is to be lifted out of the city’s grasp. One’s body is no longer clasped by the streets that turn and return it according to an anonymous law; nor is it possessed, whether as player or played, by the rumble of so many differences and by the nervousness of New York traffic. When one goes up there, he leaves behind the mass that carries off and mixes up in itself any identity of authors or spectators. An Icarus flying above these waters, he can ignore the devices of Daedalus in mobile and endless labyrinths far below. His elevation transfigures him into a voyeur. It puts him at a distance. It transforms the bewitching world by which one was ‘possessed’ into a text that...
Please join StudyMode to read the full document