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Which clippings match 'Affinity' keyword pg.1 of 1
22 JULY 2014

The Arcades Project: a world of secret affinities

"the entire Arcades complex (without definitive title, to be sure) remained in the form of several hundred notes and reflections of varying length, which Benjamin revised and grouped in sheafs, or 'convolutes;' according to a host of topics. Additionally, from the late Twenties on, it would appear, citations were incorporated into these materials–passages drawn mainly from an array of nineteenth–century sources, but also from the works of key contemporaries (Marcel Proust, Paul Valery, Louis Aragon, Andre Breton, Georg Sinunel, Ernst Bloch, Siegfried Kracauer, Theodor Adorno). These proliferating individual passages, extracted from their original context like collectibles, were eventually set up to communicate among themselves, often in a rather subterranean manner. The organized masses of historical objects–the particular items of Benjamin's display (drafts and excerpts)–together give rise to 'a world of secret affinities;' and each separate article in the collection, each entry, was to constitute a 'magic encyclopedia' of the epoch from which it derived. An image of that epoch. In the background of this theory of the historical image, constituent of a historical 'mirror world;' stands the idea of the monad–an idea given its most comprehensive formulation in the pages on origin in the prologue to Benjamin's book on German tragic drama, Ursprung des deutschen Trauerspiels (Origin of the German Trauerspiel)–and back of this the doctrine of the reflective medium, in its significance for the object, as expounded in Benjamin's 1919 dissertation, 'Der Begriff der Kunstkritik in der deutschen Romantik' (The Concept of Criticism in German Romanticism). At bottom, a canon of (nonsensuous) similitude rules the conception of the Arcades."

(Howard Eiland and Kevin McLaughlin, p.x)

Benjamin, Walter (2002). "Das Passagen–werk [The Arcades Project]", US: Harvard University Press. 0674008022
Fig.1 Edizioni Brogi (circa 1880). No.4608 "Ottagono della Galleria Vittorio Emanuele", Milano.

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193519th century • a world in miniature • a world of secret affinities • affinityAndre Bretonarcadescitationcollectibles • convolutes • department stores • documentary synopsis • encyclopaedia • epoch • Ernst Bloch • expose • Georg Sinunel • historical image • historical objects • Institute of Social Research • Louis Aragon • magic encyclopaedia • Marcel Proustmirror worldmonad • monadology • nostalgic tributenostalgic yearningnotes • original context • Parispassages couvertsPaul Valery • reflections • sheafs • Siegfried Kracauer • similitudeThe Arcades ProjectTheodor Adorno • topics • Walter Benjamin

CONTRIBUTOR

Simon Perkins
05 JANUARY 2013

Visualising interconnectedness through social network streams

"Tech City Map, created by developers at Trampoline Systems and designed by Playgen, pulls in streams of social network data for all of the businesses in the area to help analyse their influence. The Tech City Map follows in the footsteps of Matt Biddulph's original Silicon Roundabout map as well as Wired's very own version, produced in 2009."

(Olivia Solon and Nate Lanxon, 10 November 2011, Wired UK)

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TAGS

2011 • academic partners • affinityAmazon.combusinessbusiness community • Central London • chartCiscoCity University Londoncluster mapping • creative startup • data visualisationDavid Camerondiagrameast LondonEast London Tech CityEric van der KleijFacebookGoogle IncGoogle MapsGreenwichHackneyhubImperial College Londoninformation visualisationIntelinterconnectedness • Islington • LondonLoughborough Universitymap • Matt Biddulph • media companiesnetwork • Newham • next-generation applications • next-generation services • Old Street • Old Street roundabout • Olympic Legacy Company • Olympic Park • Playgen • Qualcomm • Queen Elizabeth Olympic Park • relatedness • retweets • ShoreditchSilicon Roundabout • Silicon Roundabout map • Silicon Valleysoftware companiesstart-up business • Stratford • Tech City • Tech City cluster • Tech City Map • technology companies • Tower Hamlets • Trampoline Systems Ltd • Twitter streamUK • UK headquarters • University College LondonvisualisationVodafoneweb of connections

CONTRIBUTOR

Simon Perkins
16 APRIL 2007

A Dual Strategy: reading both annotations and their texts

"This reveals a dual strategy: firstly, we are not 'reading' a text through its main text only, but more through its periphery and specific textures like the notes apparatus, the selection of pictures, the quotations and references, the imprint, the binding or context for an essay etc. Academic texts present this subtext and context apparatus very consciously. The second part of the strategy is that the index, relieved of its referential quality, has now become the main text.

These artists 'liberate' images (Peter Piller) and words (Douglas Blau) from their original indexicality of reference to an original system, so that they can be re–ordered and opened up to a new way of reading. The generative quality of the text apparatuses and the logic of the library (as a store for all reference structures), make the archive into a producer and into an archive of potential texts. Text and image are not just placed in the archive as an 'Akte' (document) but become 'Akteure' (actors) in their own right. It is misleading to talk about a knowledge store when in fact we are dealing with a knowledge generator."

(Rudolf Frieling, Media Art Net)

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20 MARCH 2006

Chris Marker's image-inventory: thesaurus rather than taxonomy

"[Chris] Marker's production of an inventory for his filmic archive through gathering – shooting, finding existing footage, and editing – is enabled by this double power of the image. On one hand, the image–inventory simply lists images as instances of a collection, allowing each to resonate on its own, evoking its own possible meaning, descriptions, feelings, and thoughts and on the other, the shared qualitative aspect that links the images creates a pictorial inventory or catalogue of the growing filmic archive. The particularity of this catalogue is noteworthy. In linking images or collection–items by shared qualitative criteria, rather than by qualitative measures, this inventory constitutes a thesaurus of the collection rather than a taxonomy or classification. For, whereas the former loosely groups instances conceptually (words/images sharing a concept), the latter tightly organises the archive nomologically (according to a law: alphabetically, chronologically, etc.). This difference is crucial: classification is linear, laying out flat the vast heterology that is the archive, taming difference through a system that is based on sameness – items or terms belonging to the same latter of the alphabet, originating in the same year, being related to the same place etc. – imposing order through a movement from the many to the one. The inventory–building of the thesaurus, on the other hand, is rhizomorphous, starting from similarities and affinities and proceeding three–dimensionally from the one to the many, from similarity to difference. The shared quality or concept, the broader term of the thesaurus, moves through analogical bifurcations and creates a network of related, narrower terms, and arborescence of possible meanings without a classificatory claim on, or hope for precision, certainty and unique locatability. As such, the thesaurus enables a radically different kind of access to the archive from that gained through classification. Classification privileges individual items of a collection through a structure which allows their precise tracking while the thesaurus creates a conceptual archive from the archive that highlights the connections between items."

(Uriel Orlow, 2002)

2). Orlow, Uriel (2002) 'Chris Marker: The Archival Powers of the Image'. In: Comay, Rebecca and Knechtel, John, (eds.) Alphabet city #8: lost in the archives. Alphabet City Media Inc., Toronto, Canada, pp. 436–451. ISBN 0887846432

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affinity • arborescence • archivecatalogueChris Markerclassificationcollectionconceptual archivedifferencedigressive approachephemera • heterology • inventory • loose classification • multi-media collagistnetworknomologicalorderingpictorial inventoryrhizomerhizomorphousSans Soleil (1983)similaritytaxonomythesaurus • Uriel Orlow • video essayvideo synthesizervisual essay

CONTRIBUTOR

Simon Perkins
12 APRIL 2005

Mnemosyne-Atlas: Visual Clustering Through Good Company

"[Aby Warburg's Mnemosyne–Atlas] is fundamentally [an] attempt to combine the philosophical with the image–historical approach [of information organisation]. Attached on wooden boards covered with black cloth are photographs of images, reproductions from books, and visual materials from newspapers and/or daily life, which Warburg arranges in such a way that they illustrate one or several thematic areas. ... [Images in the atlas are] not ordered according to visual similarity, evident in the sense of an iconographic history of style; but rather through relationships caused by an affinity for one another and the principle of good company, which let themselves be reconstructed through the study of texts."
(Rudolf Frieling, Media Art Net)

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