Mapping

"How to imagine Utopia"-Jameson, Cognitive

Mapping (286)

"There comes into being, then, a situation in

which we can say that if individual experience
is authentic, then it cannot be true; and that if
a scientific or cognitive model of the same
content is true, then it escapes individual
experience"-Jameson, Cognitive Mapping (278)

“I have spoken of form and content, and this

final distinction will allow me at least to say
something about an aesthetic, of which I have
observed that I am, myself, absolutely
incapable of guessing or imagining its form.”-
Jameson, Cognitive Mapping (286)
“Although people were unanimously positive
when the building was completed in 1984,
nowadays there is much criticism on the
building where our faculty is situated”-
Eindeloos, magazine for history studies at the
UvA (2004)

“The interior provides a large variety of views,

not only on the city, but also inwards. You look
from the inside to the outside, but also back
inside.” - Marcel Theunissen, "Theo Bosch,
knokken voor de stad" (87)

“From the outside, it gives expression to the

ordered chaos of the city”
“Theo Bosch wanted to give something back to
the city. In that respect, the city was Bosch’s
idealistic commissioner, which led to
amendments to the programme of the real
commissioner”- Marcel Theunissen, "Theo
Bosch, knokken voor de stad" (84)
“ Maze-treaders, whose vision ahead and behind is severely
constricted and fragmented, suffer confusion, whereas maze-
viewers, who see the pattern whole, from above or in a diagram, are
dazzled by it’s complex artistry. What you see depends on where
you stand, and thus, at one and the same time, labyrinths are single
(there is one physical structure) and double: they simultaneously
incorporate order and disorder, clarity and confusion, unity and
multiplicity, artistry and chaos. They may be perceived as a path (a
linear but circuitious passage to a goal) or as a pattern (a complete
symmetrical design)… Our perception of labyrinths is thus
intrinsically unstable: change your perspective and the labyrinth
seems to change.”
“Unfortunately the dichotomy between those
who participate inside and those who view
from the outside breaks down when
considering the house, simply because no one
ever sees that labyrinth in it’s entirety.
Therefore comprehension of its intricacies
must always be derived from within.”  (House
of Leaves)
“On the one hand, for Benjamin the city is an exiting relay of
spaces where experience takes place. On the other hand, the
spatially cued events come equally to inhabit the subject by
providing the spatial coordinates by which its formation can be
recalled, linked and assembled into the subject sustaining
structure: memory. Thus we have both the representation as an
urban space as lived in or moved through and the use of
recollected space-pictures as a metaphor for the interior
cartography of subjectivity. This double spatiality finds its
correspondences in the tripartite spatiality I have proposed for
visual representation: the spaces that are represented, the space
of representation, and the space from which representation was
produced and that inscribes one possibility of its space of reading.”
(Pollock 2007, 66)
“Thus the external, extrinsic sociological fact or system of
realities finds itself inscribed within the internal intrinsic
experience of the film in what Sartre in a suggestive and
too-little known concept in his Psychology of Imagination
calls the analogon: that structural nexus in our reading or
viewing experience, in our operations of decoding or
aesthetic reception, which can then do double duty and
stand as the substitute and the representative within the
aesthetic object of a phenomenon on the outside which
cannot in the very nature of things be “rendered” directly.
(Jameson 1977, 858)”
Cloth embroidered by a schizophrenia sufferer