“The panorama-city is a 'theoretical' (that is, visual) simulacrum, in short a picture, whose condition of possibility is an oblivion and a misunderstanding of practices.”
In this quote, Michel de Certeau discusses the concept of a "panorama-city" as a theoretical and visual representation of a city. He suggests that this representation relies on an ignorance or misinterpretation of the actual practices that occur within the city. By emphasizing the disconnect between the image of the city and the lived experiences within it, de Certeau highlights the importance of recognizing and understanding the everyday activities and behaviors that shape urban spaces. This quote prompts us to consider the limitations of idealized representations of cities and the need to engage with the complexities and dynamics of urban life.
In this quote by Michel de Certeau, the idea of the panorama-city is introduced as a theoretical concept that is essentially a visual representation with an underlying sense of oblivion and misunderstanding. This concept holds relevance in understanding how modern urban spaces are perceived and experienced.
Michel de Certeau examines the concept of the panorama-city as a "theoretical" (that is, visual) simulacrum in his work. He describes it as a picture that relies on an oblivion and misunderstanding of practices for its existence.
In considering Michel de Certeau's concept of the panorama-city as a visual simulacrum created through a misunderstanding of practices, it raises several thought-provoking questions:
“Finally, the functionalist organization, by privileging progress (i.e. time), causes the condition of its own possibility--space itself--to be forgotten: space thus becomes the blind spot in a scientific and political technology. This is the way in which the Concept-city functions: a place of transformations and appropriations, the object of various kinds of interference but also a subject that is constantly enriched by new attributes, it is simultaneously the machinery and the hero of modernity.”
“It is as though the practices organizing a bustling city were characterized by [city practitioners', everyday citizens'] blindness. The neworks of these moving, intersecting writings compose a manifold story that has neither author nor spectator, shaped out of fragments of trajectories and alterations of spaces: in relation to representations, it remains daily and indefinitely other.”
“To practice space is thus to repeat the joyful and silent experience of childhood; it is, in a place, to be other and to move toward the other...Kandinsky dreamed of: 'a great city built according to all the rules of architecture and then suddenly shaken by a force that defies all calculation.”
“what does travel ultimately produce if it is not, by a sort of reversal, 'an exploration of the deserted places of my memory,' the return to nearby exoticism by way of a detour through distant places, and the 'discovery' of relics and legends: 'fleeting visions of the French countryside,' 'fragments of music and poetry,' in short, something like an 'uprooting in one's origins (Heidegger)? What this walking exile produces is precisely the body of legends that is currently lacking in one's own vicinity; it is a fiction, which moreover has the double characteristic like dreams or pedestrian rhetoric, or being the effect of displacements and condensations. As a corollary, one can measure the importance of these signifying practices (to tell oneself legends) as practices that invent spaces.”
“Their story begins on ground level, with footsteps. They are myriad, but do not compose a series. They cannot be counted because each unit has a qualitative character: a style of tactile apprehension and kinesthetic appropriation. Their swarming mass is an innumerable collection of singularities. Their intertwined paths give their shape to spaces. They weave places together. In that respect, pedestrian movements form one of these 'real systems whose existence in fact makes up the city.' They are not localized; it is rather they that spatialize. They are no more inserted within a container than those Chinese character speakers sketch out on their hands with their fingertips.”
“To walk is to lack a place. It is the indefinite process of being absent and in search of a proper. The moving about that the city mutliplies and concentrates makes the city itself an immense social experience of lacking a place -- an experience that is, to be sure, broken up into countless tiny deportations (displacements and walks), compensated for by the relationships and intersections of these exoduses that intertwine and create an urban fabric, and placed under the sign of what ought to be, ultimately, the place but is only a name, the City...a universe of rented spaces haunted by a nowhere or by dreamed-of places.”