The French political theorist, activist and poet Ivan Chtcheglov 
was following his Ukrainian father as a revolutionary of his time. His father, Vladimir Chtcheglov, was sentenced to two years imprisonment following the 1905 Revolution. After he was released, Vladimir Chtcheglov left the Russian Empire. In 1910, Vladimir and his wife moved to Paris where he worked as a taxi driver. He took part in the 1911 driver strike.

Ivan – the French born son – became as a young man member of the Situationists International and as such he was the inventor of the “dérive”* (drifting) with his manifesto “Formulary for a New Urbanism”, before he tried to blow up the Eifel Tower because its reflected light was shining into his attic room and was keeping him awake.

Chtcheglov’s unforgettable line was that ‘dreams spring from reality and are realized in it’. His work was an experiment in the avant-garde. his technique echoes the improvisation that is evident in his working methods.

His text has a wonderful lyrical quality to it.

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*DERIVE or …Drifting:
One of the basic situationist practices is the dérive or drifting, a technique of rapid passage through varied ambiences. Dérives involve playful-constructive behavior and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll.

In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there.

Chance is a less important factor in this activity than one might think: from a dérive point of view cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones.

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New Urbanism

In 1953, at age nineteen, Ivan Chtcheglov wrote the manifest “Formulary for a New Urbanism”, outlining how a city and modern city life has to be in order to achieve the most quality of life.
The “Formulary for a New Urbanism” illustrates how he envisioned the perfect city life:

 “Everyone will, so to speak, live in their own personal “cathedrals.” There will be rooms more conducive to dreams than any drug, and houses where one cannot help but love. […]”

“The districts of this city could correspond to the whole spectrum of diverse feelings that one encounters by chance in everyday life. […]”

“The main activity of the inhabitants will be CONTINUOUS DRIFTING. The changing of landscapes from one hour to the next will result in total disorientation.” […]

“Couples will no longer pass their nights in the home where they live and receive guests, which is nothing but a banal social custom. The chamber of love will be more distant from the center of the city: it will naturally recreate for the partners a sense of exoticism in a locale less open to light, more hidden, so as to recover the atmosphere of secrecy.” […]

Due to these elaborations, he is considered the founder of the dérive.
The manifest served as inspiration for many artists, urbanists and architects worldwide.

The Haçienda

The “Formulary for a New Urbanism” included the phrase “The Haçienda must be built”, and became somewhat of a pop culture phenomenon, which in the eighties influenced the British music and television personality Tony Wilson in naming his Manchester acid house and rave nightclub “The Haçienda”…

Blow up the Eiffel Tower

In 1959, Chtcheglov was sharing an attic loft in Paris with his friend Henry de Béarn, and every night the light from the Eiffel Tower would shine in their eyes. Instead of opting for curtains, they decided to blow it up – not as a political act, not as a nihilist affirmation, but simply because it kept them awake. They were arrested on their way to the Eiffel Tower as they stopped at a billiard bar on Rue Mouffetard, with backpacks full of dynamite they had stolen from a nearby construction site. He had told everyone around him about his plan, and while some did not take his attempt too seriously, his wife arranged for him to be committed to a mental institution following his arrest, where he was subdued with insulin and shock therapy, and remained for five years. He died in April 1998.


source:
http://www.inenart.eu/?p=13830

The post “Find your Cathedral – blow up the Eiffel Tower” a tribute to Ivan Chtcheglov by Nora Sophie appeared first on Void Network.

Prison is only apparently the exception to the rule: crime given vent to or innocence punished is in fact the totality of society where everyone punishes each other for the offense of being there and where anyone who thinks is pierced by this question at least once a day: “Why have they put me here? What have I done?” and the terribly obsessive desire for escape is just like that of prisoners. Maybe even more intense.
The evolution of the penitentiary system with the construction of so many new spaces for punishment has a significance beyond that of “more humanity and reeducation” rather than retributive suffering. The distance, the separation between the city and its prison—which has always been very great—decreases, because the inhabitants of the city increasingly resemble (through work, family, universities, hospitals, discotheques, theaters, stadiums) prisoners of a model prison who are granted occasional leaves (weekends, holidays, “white” weeks) with the obligation of returning on specific days with no room for error.
Even the “promenade” is a mirror of the city within the prison and of the prison within the city. The people guarded on their pedestrian islands, enclosed by flowering bushes as walls, going sadly and monotonously in and out of shopping centers, loaded with useless but obligatory purchases. The people watched by video cameras in the shops and outside, forced to pass through metal detectors to enter a bank, constrained to stamp a railway ticket, whispering at every instant that ignoble secretion of personal identity that is the fiscal code, invention of the gulag. Do you believe this is very different from a prison?
I can see the courtyard of Newgate—where the prisoners in pajamas march around in rows in a circle in the famous Doré incision—once again every time I walk through any pedestrian island, special project of mayors preoccupied with having an aromatic aroma, an edenic glade, within the immense urban prison they administer. Have we really emerged from the courtyard of Newgate? Have we completely given it up, or only taken that marked pajama to the laundry?
The edenic model inspired the providential inclusion of parks—which in name still carry the memory of Paradise (park is a contraction of paradise, Persian pardesh =garden)—in the emerging urban hell. These parks would later be degraded with the name of “green zone”. But what did these deceptive patches of paradise really change anyway? The urban glade (avenue or public garden) is not forest, freedom, refuge, free play of the spirit among lives different from the human; it is nothing but human images and, in an increasingly brutal manner, human images signify that which we most abhor: walls that enclose and constrain, jail.
The new prison construction (less somber, sometimes more breathable) was begun by the fascist regime (experimentally, in small cities) in order to reduce the distance between city and prison, destined to form a single, compact, totalitarian poison. We see the prison of Orvieto, built in 1936, the year of the greatest fascist triumph, no different from the Italian Bar, the University of Rome or any youth hostel…But the model totalitarian city, with urban envoys lined up in exchange for liberation from malarial anopheles, was Littoria (Latina) where the prison, built in 1939, is an anonymous service building, a true and proper outpost of the future outskirts. And a modern condominium on the outskirts endures widespread prison conditions. From the ground floor to the penthouse, the cooking is the same everywhere: spaghetti—steak—salad—dessert, just like in a regular prison.
The difference is that the family in the condominium doesn’t throw away much food, preserves the leftovers, cooks with more intelligence. The prison, like the barracks or the hospice, wastes a great deal and cooks the same things in a vile manner. No one would ever lick those plates, so often returned full.
Among the traits of liberal democracies at the beginning of this century, this marvel still exists: though specific prison conditions may change in any possible way, in the unstoppable degradation of life in common and of sociality in general on the outside, in the abandonment of the city to degenerative cities, nothing can be done to impede this inevitable transformation of the totality of the urban environment into a prison that has been immersed in the electronic for sometime, filled with typical prison slavery like rape, sexual extortion, the exchange of favors that ends up being more important than monetary exchange.
At any place in the city, at any hour of the day, millions of urban prisoners watch the same things on television as those prisoners who have been sentenced in a trial and those who are held in custody awaiting trial. The judges themselves do the same, cheering in the same way for a goal by their soccer team.
Today all urban space is watched, controlled, patrolled, feared, distrusted, perpetually threatened. In the name of security, it has gradually reached the point of the creation of an absolute technological-military prison. One can say that this long war will only cease in order to abandon its place to a kind of monstrous prison as an extreme form of “necessary” protection. And this is happening under a democracy that tries to appear powerless, under the egalitarian rhetoric with which it cloaks itself, to prevent—since this is what it wants and needs in order to conserve itself—every city of its dreams from becoming a maximum-security prison space (thus without respite) where the circulation of individuals increasingly resembles the circling of the prisoners round and round that courtyard with the high windowless walls where the poor exhausted footsteps resound in cadence.


source: http://devibody.blogspot.gr/2010/02/walls-of-city.html

The post “The Walls of the City” by C.G. from Diavolo in Corpo, a magazine of anarchist social critique from Italy appeared first on Void Network.