MA of Contemporary Art Theory Assessment
Please see my enclosed Master Project and Thesis. This submission includes the written thesis titled Alephs Moved Again and in conjunction with this thesis I have produced a website documenting public art in Edinburgh of the same title.
• The Masters project website url: alephsmovedagain.com
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Table of Contents
Cover page ….....................................................................................................................................1 Introduction ….................................................................................................................................4 Chapter One Edinburgh & Aesthetics …..............................................................................................................8 Chapter Two It’s an Urban Walking Affair ….................................................................................................20 Chapter Three Reconstructing a Sense of Place …...........................................................................................28 Chapter Four Alephs Moved Again …..................................................................................................................38 Conclusion …..................................................................................................................................45 Website & Portfolio information …..................................................................................49 Illustration Figure List .……….………....................................................................................50 Reference Bibliography …......................................................................................................59 Research Bibliography …........................................................................................................61
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Thesis and Project Portfolio online Available on http://catrionablackdinham.wordpress.com/ Alephs Moved Again Portfolio ….................................................................................................1 Jorge Luis Borges project inspiration ……………....................................................................2 Edgar Allan Poe project inspiration …......................................................................................3 Miwon Kwon: Public Art as Publicity ………............................................................................4 Project Website, Alephs Moved Again ……...............................................................................5 Brief Idea, Alephs Moved Again ………........................................................................................6 Edgar Allan Poe project inspiration .........................................................................................7 Mapping Requirements …………...................................................................................................8 City of Edinburgh Links ……..........................................................................................................9 Feedback ……………………………………………………………………………………………………10
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Since 1947 the months of July and August see a swell of the arts in Edinburgh. These
annual festivals, representing the full spectrum of the arts, were introduced in an
effort to promote goodwill and celebrate the human spirit post World War II. As a
result this Scottish Capital and World Heritage site is rife with a bubbling tourist
industry and a rich landscape of cultural activities during those months. In contrast,
when looking at Edinburgh’s publicly accessible art year round, we encounter a lack
of public art in general. This is even more apparent when we look at public art
produced in the past few decades. In this thesis I have attempted to define possible
reasons for the lack of contemporary public art and explore if this is a fundamental
part of the phenomena that could be termed the Edinburgh Aesthetic.
This thesis offers a critique of public art; commenting on the Edinburgh Aesthetic
through case studies of contemporary public artwork. The foundation for these case
studies, catalogued on the website created in conjunction with this thesis, Alephs
Moved Again, is the dynamic nature of place as a socio-‐geographical concept.
When reflecting on the idea of a city having an aesthetic, which can be resistant to
conventional descriptions1, we must acknowledge three elements, which work
together as a triad when discussing the making of public art. These are Public, Art
(activity) and Place {Figure 1}. Referencing the “relationship between society and space,
1Influence taken from Ian Campbell and Margaret Stewart’s examination of Edinburgh's historical and
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history and geography, splendidly idiographic and the enticingly generalizable
features of a postmodern urban geography”2, how can we retain such a sense of
immobility of the local sense of place and ignore its particularities amidst the cross-‐
hatchings and constant movement of multiple identities and cultures in a place?
In an effort to outline the Edinburgh Aesthetic it is important to discuss the
postmodern critical theory of place and explore the more specific question in relation
to public art in Edinburgh: are the current cultural expressions of Edinburgh’s people
visually represented and encouraged in the production of public art?3
The intersections of place and its multiple identities and visual markers are currently
under represented in artistic expression by todays inhabitants. Visual
representations can come in numerous forms, such as permanent sculptures,
community projects, performances, graffiti, etc. I have broached the issue that
Edinburgh’s places are subject to various paternalistic notions, driven by elements of
Government cultural activity policy focusing on requirements of production and
commissioning. My reaction to the Edinburgh Aesthetic is to catalogue what
permanent and temporary public art we have in Edinburgh as a continuing project.
2 Edward Soja, Postmodern Geographies, the Reassertion of Space in Critical Social Theory, Verso, 1989, p. 223 3 I must acknowledge that Edinburgh has produced and grasped other non-‐visual forms of the arts instead i.e. poetry, music, I cannot deny this form of expression, and it highlights the lack on non-‐visual expressions.
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The Geographer Doreen Massey explains the construction of tradition in public
places. Massey’s place as practiced concept emphasizes that our place-‐making
traditions and identities go hand in hand and are constantly in flux. We not only hold
onto our traditions but also have to build them. Edinburgh has an image to maintain
as the capital city of Scotland, and it preserves its architectural heritage, cultural
policy, specific regeneration4, and an aesthetic that is quintessentially Edinburgh. My
research looks largely at Massey’s view of place in relation to the idea of multiple
identities of place, short stories by Jorge Luis Borges, and theory drawn from
Situationist discussions and psychogeography
Wandering and wondering in Edinburgh is the ideal way to encounter its public
artworks; my website Alephs Moved Again catalogues and documents artworks and
location and offers mapping points and markers for clarification of context; what this
illustrates is how place is fluid and changing by also seeing the artwork in today’s
context. I will continue to document new artwork and events in the future as the
project progresses.
4 “Preserve that unique sense of place, create the conditions for a vibrant yet safe street life, and encourage continuing private sector developments and improvements.” (Andrew McMillan and Ewan Hyslop; The City of Edinburgh – landscape and stone. ICOMOS 2008 Scientific Symposium)
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The project title, Alephs Moved Again, references points of infinite space in the short
story by Jorge Luis Borges5. The catalogue of public art online will act like an infinite
archive and resource. By creating this resource that users can contribute to, the
website illustrates the lack of contemporary artwork in our streets. My hope for the
future is twofold; that we re-‐assess current public art and we re-‐evaluate the code of
production and process within this city when producing and commissioning public
art in Edinburgh.
5 This reference was formed through the formulation of Soja, Edward, Thirdspace, Blackwell, 1996. Print. p. 57; by analogy with the Aleph, a concept of spatial infinity developed by Jorge Luis Borges in 1945.
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EDINBURGH AND AESTHETICS
But Edinburgh is a mad god’s dream
Fitful and dark,
Unseizable in Leith
And wildered by the Forth,
But irresistibly at last
Cleaving to sombre heights
Of passionate imagining
Till stonily,
From soaring battlements,
Earth eyes Eternity.
Hugh MacDiarmid (1892–1978): “Edinburgh” -‐ plaque on the Edinburgh Canongate
wall 6
‘A mad god’s dream … of passionate imagining’ -‐ it’s a bold piece of writing from the
one time Edinburgh resident MacDairmid; writing that I strive to realize in its
6Hugh MacDiarmid (1892-‐1978). Lived and died in Edinburgh. A Scottish poet of the 20th century. He was instrumental in creating a Scottish version of modernism and was a leading light in the Scottish Renaissance of the 20th century.
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possibilities. When you live in a city like Edinburgh, not too big, nothing’s too far;
whether to explore or on a mission, walking is a natural part of your day. The
pedestrian nature of Edinburgh is quite alive, we have great (before that tram
construction) public transport but many of us who can, walk to where we are going.
Walking quite often deviates from just wandering, usually I walk with a mission,
focused, trying to get to work on time. I think many of us do this in unity, but miss the
day-‐to-‐day attractions of the terrain, with both wonderment and calculation of the
city’s possibilities. The uninhibited act of the derive offers wandering with an
awareness of the psychogeographical affects of the environment, which I will discuss
further in Chapter 2.
Edinburgh’s aesthetic is based upon heritage and monument; in 1935 Edwin Muir
gets straight to the point by describing that: Edinburgh is ‘becoming lost to history’7.
‘England gives some scope for it’s best; Scotland gives none; and by now it’s large
towns are composed of astute capitalists and angry proletarians, with nothing
that matters much in between. Edinburgh is a partial exception to this; but
Edinburgh is a handsome, empty capital of the past … [they are] monuments of
Scotland’s industrial past, historical landmarks in a country which is becoming
7 Edwin Muir, Scottish Journey. Edinburgh. 1985. Henceforth Muir p. 3-‐4.
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lost to history.’8
This city’s history seems apparent as soon as you step off the train; you look up and
see Waverley railway station’s original 1847 construction all around you, although
today it’s merged with travel advancements, Boots chemist and WH Smith. Assuming
you can see past the construction the history surrounds us as you wander up the
famously blustery Waverley Steps up to Princes Street to find yourself in the midst of
the character, and the very quintessential nature of the now privatized Edinburgh.
Edinburgh’s character has often been defined as "public probity and private vice" by
Dr Jekyll and Mr Hyde writer Robert Louis Stevenson. And again Stevenson reiterates
the Edinburgh Aesthetic, and implies Edinburgh is a "precipitous city” 9, which when I
was a newcomer to the city I would have agreed with whole heartedly, but I have
been softened by my over a decade in residence.
The Edinburgh literary community has had great recognition over the past two
hundred years, with the likes of R.L. Stevenson, Sir Arthur Conan Doyle10, Irvine
8 Edwin Muir, Scottish Journey. Edinburgh. 1985. Henceforth Muir p. 3-‐4. 9 Robert Louis Stevenson (1850-‐1894). Born, educated and lived in Edinburgh. Scottish novelist, poet and travel writer. Famous novels are: Treasure Island, Kidnapped and The Strange Case of Dr Jekyll and Mr Hyde 10 Sir Arthur Conan Doyle (1859-‐1930). Born and educated in Edinburgh. Trained physician and writer, his most famous stories are about Sherlock Holmes.
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Welsh11 and Ian Rankin12, all have given the city a pedestal upon which to stand.
While non-‐visual expressions have been on the rise in recent years the visual
expression of Edinburgh’s people has been stinted. Alexander Stoddart, a prominent
sculptor & Ordinary to the Queen of Scotland, has been commissioned to erect many
monuments over the past three decades; he has brought us the bronze landmarks of
Adam Smith and David Hume. Sadly, in my opinion {Figure 2} however talented and
skilled in his trade and respected he may be, demand has facilitated his
monopolisation of the production of contemporary development of artwork in this
city. His mastery of classical realism through bronze monuments has stifled the
creation and production of contemporary artworks in the public realm; artwork that
the public can relate to in todays time and context. This monopolisation of
contemporary artwork in Edinburgh is hardly weighted on Stoddart, but by the
conservative sensibilities of the commissioners of the artwork, which I shall discuss
further in regard to cultural policy activities.
My use of literary references and heritage in this project can be based on the
reflections of critical regionalism, which is based on an avant-‐gardist modernist
11 Irvine Welsh (b.1957). Born, educated and lived in Edinburgh. Contemporary Scottish novelist, best known for the phonetically written novel; Trainspotting. 12 Ian Rankin, Born in the Kingdom of Fife. 1960. Prominent Scottish writer, particularly for his writings of Edinburgh’s detective; Rebus.
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approach. If we look at the Edinburgh literary tour project13, it incorporates both
reference to the urban symbolic and architectural landscape with prominent
Edinburgh born and resident writers. In its foundations it rests in the local or
regional architecture, which in Edinburgh is at the root of the need to maintain its
heritage. The writer Kenneth Frampton14 is most associated with the term Critical
Regionalism that fostered postmodern cultural theory. Critical regionalism’s original
use is in architectural theory, which includes literature, cultural, and political studies
and proposes a methodology based on the intersection of those fields which I use in
my discussion of the mapping of the urban landscape as place as a fluid notion.
The lack of non-‐bronzed contemporary permanent artworks installed in our
pathways is perhaps due to funding hurdles by many artists and (lets not forget)
council permissions. Edinburgh has a public aesthetic that is adhered to and
maintained by the authorities including the City Council. After seeking out
information in regard to the process of producing artworks for the streets of
Edinburgh I was directed to the Arts Development15 and Cultural Partnership
guidelines issued by Edinburgh City Council. The guidelines specify what public art
13 'Palimpsest: Literary Edinburgh', Academicians: Miranda Anderson, Amy Guy, Simon Biggs, John Lee, James Loxley, Mark Wright, CIRCLE & UoE English Literature Department, www.literarycities.org 14 Kenneth Frampton wrote the essay "Towards a Critical Regionalism: Six points for an architecture of resistance" published in the book "The Anti-‐Aesthetic: Essays on Postmodern Culture" (1983) edited by Hal Foster. 15Arts Development, City of Edinburgh Council: http://www.edinburgh.gov.uk/info/486/arts_development/372/arts_development
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comprises and what it must achieve. Visual arts have been amalgamated with other
art forms including dance, craft and theatre under cultural activities within the
Edinburgh Cultural Partnership16 sector of the City Council, which was established in
2002 to head the community-‐planning network that includes the Edinburgh
Partnership, and the City Sports Partnership and other organizations.
As an alternative model and aim to which Edinburgh could adapt and follow;
Gateshead in Newcastle put itself on the map in the 1970’s and 1980’s as they
decided to become active in the commissioning of public art, mainly as they had no
contemporary art gallery at that time. In 1986 Gateshead created a formal public arts
programme funded through various means, such as the Single Art Regeneration
Budget, Arts Council Lottery, and established a modal that other cities could follow
and appropriate. Gateshead used public art as a means to reclaim derelict areas. A
stark contrast to Edinburgh’s preservation of heritage and art.
The Edinburgh Cultural Partnership states that they as a sector will improve access to
the arts, sports and cultural activities, for example:
• They encourage active involvement and participation from individuals and
16Edinburgh Cultural Partnership: http://www.edinburgh.gov.uk/info/486/arts_development/465/cultural_policy/1
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the community, which helps to develop self-‐worth and community identity
• They help to raise awareness of issues relating to the environment,
community safety and disability
• They help to develop a sense of pride in the City’s heritage and built
environment
• They bring in new ideas, experiences and a sense of enjoyment to the City,
contributing to the quality of life.
• Preserving and enhancing the city’s built heritage
• Arranging displays on aspects of the city’s history
• Carrying out archeological and social history research
• Maintaining and encouraging the enjoyment of the city’s natural heritage of
parks and open spaces
• Interpreting the city’s architectural and historical background and identifying
ways of making it more accessible to the public
• Collecting and preserving artifacts relating to the city’s heritage. 17
This all sounds well intended, but does this really happen in the development and
production of public arts? It’s a common view that public art must follow the
following points, perhaps it’s only implied, expected, or an old view; and there is little 17 ‘A Cultural Policy?’ for the City of Edinburgh. Towards a New Enlightenment. 1999. p. 7 ~ I obtained this document from the Arts Development division of the City of Edinburgh Council, this is their most recent policy document guidelines, but I was informed new policy documents will be provided to the public in 2013.
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evidence that public art achieves any of these things which Doreen Massey and Dr
Gillian Rose, both of the Open University, have discussed on the value and impact of
public art in their report commissioned by Milton Keynes Council18.
• Reference cultural policy and the assertions such policy’s demand on public
artworks and their uses
• Enhances the physical environment
• Creates a sense of place and distinctiveness
• Contributes to community cohesion
• Contributes to social health and wellbeing
• Contributes to economic value through inward investment and tourism
• Fosters civic pride and confidence
• Raises quality of life
• Reduces crime 19
From such guidelines it’s safe to assume that it’s intended that permanent artworks
must integrate into the city landscape. Many public artworks are funded and
commissioned through such schemes as ‘Percent for Art’, which is implemented by
the City Council. The scheme works in association with a private organization to
enhance the relationship through commissioned publicly accessible visual art with 18 Professor Doreen Massey BA (Oxon), MA (Phila) & Dr Gillian Rose, BA (Cambs). Social Sciences Faculty. The Open University. Commissioned by Artpoint on behalf of Milton Keynes Council: Personal Views: Public Art Research Project. 2003. 19 Public Art Online. www.publicartonline.org.uk/resources/research/current_research.php
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privately owned land developers. For example; ‘Percent for Art’ in association with
Cala Homes (Scotland) artwork can be seen in Stockbridge, a sculpture titled ‘Horse,
Rider, Eagle’ by Edinburgh born Eoghan Bridge {Figure 3} in 1997. ‘Percent for Art’ is a
scheme that encourages the use of a percentage (typically 1%) of a private or
government construction project cost and is allocated for the commissioning and
production of a publicly accessible permanent artwork. Richard Serra’s Tilted Arc
sculpture {Figure 4}, marked a change in the way such artworks where instated. The
Tilted Arc was installed in the courtyard of the Jocob Jarvits Federal Building in
Manhattan, New York in 1981. There was an outcry by pedestrians and workers in
the surrounding buildings that this mix of both authoritarian and paternalistic
sculpture was commissioned without interaction with the inhabitants and workers of
the area and was removed in 1989.
This marked a change in process of commissioning the work and has slowly filtered
to here in the UK. Although the funding and project bodies have authority over the
artwork commissioned, community engagement and approval is sought. Perhaps the
financial encouragement and paternalistic attitude for the production of art in private
construction is to ‘give back’ to that place and community, and enrich the lives in that
area through art.
Looking at the use of the Edinburgh’s Aesthetic, as a nuance of a static notion of place
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and discussing the documentation of current artwork and the need to produce new
contemporary artwork in a way that implies that it is a far more of a fluid notion is
how I wish to proceed. By fluid I refer to Miwon Kwon’s interpretation of Wrong
Place; 20 “Places are also fluid, changeable, dynamic contexts of social interaction and
memory”.
I have restricted the content and discussion of public art to omit the festival months
due to the word count of this paper and to emphasis the production of artworks that
happen in the remaining 10 months of the year. This will enable me to focus on
viewing public art as a resident and to comment on the contradictions of the local
sense of identity and the dynamic notion of the association of place through the use of
visual art in our streets. Documenting the artworks in festivals will be a continuation
of the Alephs Moved Again project for a later time.
Ian Rankin, in his book 2007 Exit Music21, describes this city; “It seemed to him a very
Edinburgh thing. Welcoming, but not very”.
Such desire and economic requirement to maintain this aesthetic and tradition is
known by tourism industries around the world is perhaps one of the roots of issue.
20 Miwon Kwon. The Wrong Place. Art Journal; Spring 2000. 59. 1. Research Library Core. p. 4 21 Ian Rankin. 2007. Exit Music. Desert Island Books
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The recent lack of permanent artwork produced in the city is reacted to in the festival
months when there is an abundance of temporary, ephemeral artwork, but year
round, this enthusiasm is stifled. This is where one problem lies. The (perhaps)
discouraging guidelines of the city council, the need to conform to obtain funding in
such schemes as ‘Percent for Art’ and Creative Scotland proposals; or the
mountainous and precarious nature of regulations such as health and safety etc. has
dampened the expression of contemporary artwork in the public arena of Edinburgh.
Boundaries have been set and it can be a hazardous crossing.
By contextualising the modes and means of production of public artworks and the
notion of places in which they inhabit; I am attempting to shift the premise from the
production of art as economic and political tools of growth, to that of the need to
include contemporary cultural expressions of the intercepting cultures and identities
of Edinburgh’s people.
To summarise, the Edinburgh Aesthetic is a conservative sensibility by the Edinburgh
City Council and other commissioning bodies. The sensibility of the people in
authority must adhere to the need to maintain Edinburgh as a world heritage site,
and continue to strive for economic growth and tourism. All to the detriment of new
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forms of artistic ‘representation and meaning’22 being produced in the public realm.
22 Merlin Coverley. Psychogeography. Pocket Edition. Oldcastle Books. 2006. p. 96
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IT’S AN URBAN WALKING AFFAIR
“Dérive is the first step toward an urban praxis. It is a stroll through the city by several people who are
out to understand the "psychogeographical articulation of the modern city". The strollers attempt an
interpretive reading of the city, an architectural understanding … “engage in "playful reconstructive
behaviour"…They see in the city unifying and empowering.23
The dérive is the ideal model notion of wandering the streets of Edinburgh and has
been explored extensively by Guy Debord of the Situationist International in the
1950’s, and since then in the 90’s, by the ‘London Psychogeographical Association’,
and again recently by Merlin Coverley’s book in 2006 ‘Psychogeography’, and the
2007 book ‘Psychogeography: Disentangling the Modern Conundrum of Psyche and
Place’ by Will Self and Ralph Steadman, and Ian Sinclair’s 2004 book ‘London Orbital’.
The dérive essentially means to stroll but involves a ‘playful-‐constructive behavior’24
and awareness of psychogeographical effects. The Situationists use the dérive and
other fractions of psychogeography as a means of showing the contrast in the
everyday and comment on what it is now and what it could be in the future. My focus
leads within a fraction of psychogeography; the derive. The dérive is an awareness of
your surroundings and the affects the urban landscape have when interpreting your
23Anonymous. Drifitng with The Situationist International. http://www.geog.leeds.ac.uk/people/a.evans/psychogeog.html. 2002. 24 Théorie de la dérive”. Internationale Situationniste. Paris. 1958. Translation by Ken Knabb. Situationist International Anthology. Revised and Expanded Edition. 2006
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own reading of the city.
Guy Debord of the Situationists was the forerunner of the Situationists International,
the Letterist Group, which included psychogeography and various elements under its
umbrella; the dérive is but one instrument. Psychogeography was a tool in an attempt
to transform urban life, first for aesthetic purposes but then later for political ends.
Merlin Coverley in his book Psychogeography25 points at to the definition of where;
‘psychology and geography collide’, as a way of exploring peoples behavior and the
impact of the urban place. Coverley’s guide to Psychogeography has been a necessary
conductor in understanding the overly appropriated term that has become quite
vague in definition and use.
The dérive enables the storytelling of a places, the history of its internal cogs, cross-‐
hatchings of current and old inhabitants and its complexities in its current context.
The practice of derive in Edinburgh and witnessing the attractions in our streets
dissolves the boundaries, reinvents identities and contextualizes the histories of place
and becomes a situation creating method and tool26. The dérive does not give into
pure unconscious desire characterized by the surrealist’s wanderings and the journey
25 Merlin Coverley. Psychogeography. Pocket Edition. Oldcastle Books. 2006. p. 11 26 Situation creating technique – Influenced by various writings by Guy Debord
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of the stroller of the flanuer. The dérive lacks clear destination but has purpose.27
Alephs Moved Again is in part my visual interpretive reading of the city and my
reaction to, in my opinion, the lack of contemporary public art (non bronzed), and to
map the artwork in the streets of Edinburgh; and to explore the ideas that are open to
place being interpreted as a fluid concept. Why aid the exhibition with an online
model? The online website I have produced, that includes an integrated map can give
the audience possibilities to follow, and/or give points of places to give start to the
possibility of the derive: beginning with purpose. To act as an online exhibition site
with numerous links to a catalogue of temporary sited artworks and information
along with a list of permanent artworks and features around the city. It is my hope
the online site would continue to expand and include historical artworks around the
city that may benefit the concept of the project.
I have a conflict in understanding the cultural implications of fixed and generalized
interpretations of place as a whole and the cultural hybridity giving rise to new
negotiations of meaning and representation28; perhaps it’s the need to be a localized
individual, have present-‐time association, and to be at odds with associations of
27 Merlin Coverley. Psychogeography. Pocket Edition. Oldcastle Books. 2006. p. 96 28“The process of cultural hybridity gives rise to something different, something new and unrecognizable, a new area of negotiation of meaning and representation.” Rutherford, Jonathan. "The Third Space. Interview with Homi Bhabha." Identity: Community, Culture, Difference. London: Lawrence & Wishart. 1998. Print. p. 211
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larger intersections of society, and the link with place; not to be exclusively one over
the other. Our connections and interpretations of a place are tied to our knowledge,
our cultural understandings and histories of customs and rituals. But a place is
forever altering, adapting, progressing, multiple identities and cross-‐hatchings of
people change. The culture develops around and with it, and the writings of Doreen
Massey speak volumes, particularly in such essays as Politics and Space/Time.29 The
place adopts our traits, customs and cultures, and visa versa. Place has a backlog of
interactions, where people and time are facilitating this flexibility.
Showing the activity in Edinburgh and the changing nature of place; when interacting
with the possible enhancing abilities of an artwork we can reference my
documentation of Antony Gormley’s artwork Six Times {Figure 5} via Alephs Moved Again.
The commissioned artwork by the Scottish National Galleries is in association with
funding from the Lottery Fund, sites 6 casts, very typical of Gormley artwork, on a
historical route of the Water of Leith in Edinburgh. The resource I’ve created Alephs
Moved Again allows the publics to use and interact with the site as an online resource,
mapping each point of the trail that stretches from the National Galleries Modern
buildings to the abandoned pier in Leith Docks. Since 2010 they have been enveloped
into the place where they sit. For me the real expression of the pedestrians and
inhabitants of the city are the interventions and reactions to the artwork from the
29 Doreen Massey. For Space. Includes essay Politics, Space/Time. SAGE Publications Ltd. 2005
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publics, not just the artwork itself, images of such interventions can be seen on Alephs
Moved Again as part of the documentation. Various bras and t-‐shirts have been
placed on the casts, including a parody performance by artist Pete Shaw30, interacting
with the work, which in my opinion is a point of substance in public art. I don’t
believe such reactions are solely in protest of such artworks but in acceptance and
engagement. The same principle lays with the painting of Eduardo Paolozzi’s giant
bronze foot toenails31 at the top of Leith Walk: Elms Row.
In his book Malcolm Miles: Art, Space and the City: Public Art and Urban Futures32
Miles definition of publicly accessible artworks is a key aspect in my exploration of
place. He discusses the imbedded history and continuous expansion of culture in its
visual markers and invited interaction. ‘Public art’ is a form of street life, a means to
articulate the implicit values of a city when its users occupy the place of determining
what the city is’, … suggests that it actively engages with and intervenes in its
audiences.’33
30 Peter Shaw. Antony Gormley statue performace. 2012. meet-‐the-‐real-‐life-‐gormley-‐statue-‐peter-‐shaw 31 Eduardo Paolozzi bronze sculptures, the giant bronze foot is one of two sculptures by Paolozzi here, the other being another giant bronze hand, which are based on a William Blake painting of Isaac Newton. 1795 32 Miles, M Art. Space and the City: Public Art and Urban Futures. London. 1997 33 Professor Doreen Massey, BA (Oxon), MA (Phila) & Dr Gillian Rose, BA (Cambs). Social Sciences Faculty. The Open University. Commissioned by Artpoint on behalf of Milton Keynes Council: Personal Views: Public Art Research Project. 2003. p. 12
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In the spirit of the Situationists International such reactions to unwritten rules and
regulations are physical interventions, including graffiti and tagging, of such
commercial and authoritarian commissions by private investment schemes and the
city council. Edinburgh council has tried to regulate and perhaps embrace artwork in
the form of murals and graffiti by giving residents two legal walls in the city, but
many areas in Edinburgh such as Rose Street and Meadows Lane are perhaps a
reaction to the councils attempt to regulate vandalism – graffiti, and in my opinion an
honest expression by some of Edinburgh’s inhabitants. ‘The secrets of the city are at
a certain level decipherable, wrote Debord, but the personal meaning they have for us
is incommunicable’.34 The dérive becomes a strategic device for re-‐contouring the
city and experiencing these places.
The mural, Industry of Leith {Figure 6}, depicting Leith's social and trade history was
painted on the gable end of a building at North Junction Street, Leith by Street
Artworks in late 1986. Tim Chalk and Paul Grime produced the mural along with
members of the Leith historical project through workshops.35 The mural is
representative of Leith’s past but I think this differs from the likes of Alexander
Stoddart’s bronze {Figure 2} works because he appears to produce a pastiche of classical
bronze artwork, he is keeping the skill alive in the public eye, but the mural in Leith is
34 Merlin Coverley. Psychogeography. Pocket Edition. Oldcastle Books. 2006. p. 101 35 Street Artworks was a partnership between Tim Chalk and Paul Grime. They later set up in partnership trading as Chalk & Grime
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visually representative in topic rather that style. It is a contemporary visual
representation that can be translated and understood by people today. It is a work
that is embedded into the area and place-‐making. "The space thus produced also
serves as a tool of thought and of action [...] in addition to being a means of
production it is also a means of control, and hence of domination, of power."36 The
artwork acts as a marker of Great Junction Street and of people.
In 1986, such artworks were not too uncommon; in Glasgow, 1975 Tom McGRath
(Director of the contemporary art gallery, the Third Eye Gallery) and the Scottish Arts
Council (now Creative Scotland) commissioned the gable end murals project in
Glasgow. Unfortunately the murals were painted on buildings that were at the time
scheduled for demolition, and were never foreseen to be permanent additions.
There were four gable end murals in total and Ian McColl was the only artist to
engage with the people of the area to work in partnership. John Byrne’s murals
received allot of attention by graffiti artists and taggers, and as previously mentioned,
this was almost inevitable on these murals, it’s a thin line between vandalism in
protest and acceptance and intervention. David Harding wrote of the government
policy of social inclusion and the list of requirements that public artworks should
achieve to be deemed appropriate to be sited in the public arena. ‘It was always an
ameliorating 'top down' policy with not much ever percolating from the 'bottom up'
36 Henri Lefebvre. The Production of Space. Blackwell. 1991. p. 26.
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and totally at odds with the notion that the socially excluded may have something
worthwhile to express about culture’. 37
Fundamentally Edinburgh’s cultural activities development guidelines are primarily
still driven from the top down by policies and strategies based on cultural activities
for all, whilst maintaining and encouraging economic growth. A seemingly self-‐
contradictory approach. Mainly as it assumes and lumps artistic practices together
and Edinburgh as a homogeneous, bounded community in harmony – The City of
Edinburgh Council is trying to refashion the alienated city.
37 David Harding. http://www.davidharding.net/article11/index.php. Public Art Article of Craigmillar Arts Centre in Edinburgh. 2005.
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RECONSTRUCTING A SENSE OF PLACE
“The concept of sense of place is used colloquially to refer to an individual's
ability to develop feelings of attachment to particular settings based on a
combination of use, attentiveness, and emotion … analyses suggest that places are
more than simply geographic sites with definitive physical and textual
characteristics-‐-‐places are also fluid, changeable, dynamic contexts of social
interaction and memory."38
Early on the development of this project my understanding of place was primarily as
a static concept, with an introverted obsession with ‘heritage’; this model always felt
as if it came short for me, until it was introduced to me as a fluid notion. This is a
concept that embraces time, multiple identities and usages of space and place. This
developed into looking at my city, Edinburgh, in an alternative manner; combining
the use of online mapping and wandering throughout this city with the artworks that
constantly surround me, and the changing ideologies that these places can hold in the
context of the artworks. The geographer Edward Soja cautions that, "How relations
of power and discipline are inscribed into the apparently innocent spatiality of social 38Patricia A Stokowski. Languages of Place and Discourses of Power: Constructing New Senses of Place. Academic journal article from Journal of Leisure Research. Vol. 34. No. 4: http://www.questia.com/library/1G1-‐98607156/languages-‐of-‐place-‐and-‐discourses-‐of-‐power-‐constructinghttp://www.questia.com/library/1G1-‐98607156/languages-‐of-‐place-‐and-‐discourses-‐of-‐power-‐constructing
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life, how human geographies become filled with politics and ideology”39
The histories and consequences of a place definitely have an impact on the current
state of a place now, but the history does not define it, the trajectories of the paths
that intersect at that place make it malleable and the artworks ideally help tell the
story and form a visual representation. As I have already discussed my approach to
the Edinburgh Aesthetic and the meaning behind this and my reaction. It’s only
natural for me to discuss the idea of place and the notion of a sense of place and how
this relates to the public arena and my project. I’m wary of referencing this term
(sense of place) wholly as this opens up a plethora of ideas and the various social and
geographical references to identifying place in relation to time and the nostalgia of
the local.
Other cities use art to define themselves, not Edinburgh. Antony Gormley’s Angel of
the North for example, has become a marker, a signifier of place and identity. Anish
Kapoor’s Cloud Gate, aka The Bean in Chicago {Figure 7}, and his new addition in
partnership with Cecil Barmond {Figure 8} to London, commissioned for the 2012
Olympics – the Orbit Tower, and Ian Ritchie’s the Spire of Dublin, Dublin {Figure 9}. What
does Edinburgh have really? We have a wealth of monuments. There is nothing
39 Edward Soja. Postmodern Geographies. The reassertion of space in critical social theory. Verso. 1986. p. 6
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wrong with these monuments but we are overshadowed in these tributes to past
iconic people40 but to make room for the new, and for us to progress as a city; we
must be open to progressive styles, mediums and subject in the visual public arts.
Non-‐consensual, authoritarian commissioned artwork that are there to stimulate
economic growth are not necessarily conducive to producing artwork that are
engaging in expressions of contemporary culture. And if they fail at that, then what’s
the point? Ultimately visual expressions must be encouraged, through progressive
engaging projects with the people of Edinburgh, not the safe classical style bronze
artworks of Stoddart {Figure 2} that hark back to Victorian times; why should we be
preoccupied by monument? Edinburgh’s sensibility appears to define itself by our
heritage; architecture, critical regionalism; our walkways are steeped in history, place
has been made but what we need now is to progress:
“This is place as practised…does not imply ignoring the past (all the different
processes, practices and trajectories which have interwoven to make this place
what it is); but it does mean not romanticising it or holding it in aspic, nor
allowing it to dominate the present. The past of a place is part of its present and
future and it is in that guise that it can best contribute to the making of a sense of
40 Influence here from Ray Mackenzie in his book: Public Sculpture of Glasgow. Liverpool University Press, 2001.
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identity.”41
I started out researching the static notion of place with such theorists as Lucy
Lippard. Much of the discussions of place that I have come to know have revolved
around the local and seeking a fixed identity of a place, relying on the desire of its
community to locate a sense of identity as a factor in defining a place.
To look into this question further of fluidity and try and find an answer in relation to
public art, I have researched the idea of place as being dynamic by using the theory
and practice of psychogeography and the viewpoint of the geographer, referencing the
likes of Edward Soja and Doreen Massey. How these relate to the movement and flux
of place, the production of artworks by its globalized inhabitants, and the writings of
Edgar Allan Poe and Jorges Luis Borges.
Doreen Massey has been a key player in my development and discussion of place and
its unbounded dialogue. Such that places have multiple identities, cultures and
constantly in flux (that incorporate time and use). Place plays an integral role in
human experience as explored by Edward Relph42 in place attachment and the
experiences of countless types and identities. Massey explains that the reactionary 41Professor Doreen Massey, BA (Oxon), MA (Phila) & Dr Gillian Rose, BA (Cambs). Social Sciences Faculty. The Open University. Commissioned by Artpoint on behalf of Milton Keynes Council; Personal Views: Public Art Research Project. 2003. p. 4 42 Edward Relph. Place and Placelessness. Place Identity. Pion Ltd. 1976
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sense of place is problematic, a sense of which can be “constructed through an inward
looking history based on delving into the past for internalized origins”43. This is
important in talking about what appears to be Edinburgh’s reaction to public places
today when commissioning artwork. What we need is an outward looking process to
aid production. Specifically place being site sensitive or the artwork produced being
reactive to the place itself. I think the latter has more potential, as this could be the
path to producing expressive artwork, paying homage to the history but
representationally more progressive and stimulating. Temporary, ephemeral artwork
is on the rise, even then the council restricts it, so then I discuss reactionary work in
the form of intervention and action. Stability provides a source of unproblematic
identity in the unavoidable flux and dynamic nature of real life. “To reaffirm our
sense of self, reflecting back to us an unthreatening picture of a grounded identity.”44
I am weary of using the term ‘community’ as I think that using this term in this regard
is not quite correct. Community suggests one group all are of the same socio-‐
economic status and nationality perhaps. When discussing in this context I want to
avoid the assumption that I am discussing a community. What I am interpreting is
the multi identity, multi community all within Edinburgh as a place with only
geographical boundaries not cultural boundaries.
43 Doreen, Massey. A Global Sense of Place in Reading Human Geography. 1997. p.1 44 Miwon Kwon. The wrong place. Art Journal; Spring 2000. 59. 1. Research Library Core. p. 10
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“In the middle of all this flux, people desperately need a bit of peace and quiet -‐
and that a strong sense of place, or locality, can form one kind of refuge from the
hubbub. So the search after the ‘real’ meanings of places, the unearthing of
heritages and so forth, is interpreted as being, in part, a response to desire for
fixity and for security of identity in the middle of all the movement and change.”45
Places have multiple identities and uses, and full of internal conflict. I have the
conflict between the uniqueness of place; and the realism of a boundless sense of
location and culture and multiple identities of place, I’m looking for a resuscitation of
a sense of place. We can look at Leith docks, a place steeped in history of whaling
trade, and now conflicted with the present, loss of trade and heritage in modern times
and the flux of cultures and usages. What it could be in the future and is represented
in such as artwork as the Industry of Leith {Figure 6} Mural by Tim Chalk I discussed
earlier.
Edinburgh has earnt an informal reputation for being tougher to gain approval for
public artwork proposals outside the festival months. To see the fruition of a public
art projects is at the discretion of the arts development team at the council and
private funding. These employees may or may not have an art background in any
45 Doreen, Massey. A Global Sense of Place in Reading Human Geography. 1997. p. 7
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form.
The Edinburgh passive sensibility can be conservative, restorative and protective of
its city and that is by no means a bad thing. It is the restrain that seems to be
impeding experimentation. This has its benefits. Unlike Glasgow, Edinburgh has
preserved its beauty. In its architecture, monuments and pedestrianized public
architectural and sculptural artwork that has been heavily integrated into the walls
and walkways of the city. Massey reviews that new artwork has the ability to change
context within the surrounding environment, “None of this denies place nor the
importance of the uniqueness of place. The specificity of place is continually
reproduced, but it is not a specificity which result from some long, internalized
history”46
This is why I am thankful to see the project by Joe Caslin, Our Nation’s Sons street art
pasting’s {Figure10} in the streets of central Edinburgh. For me as a ‘local’ it signifies that
Edinburgh is again investing in cultivating the streets, as being a stage for artists and
its residents.
This isn’t Caslin’s first public art based project, as he has collaborated with French
Artist JR on large scale portrait pastings on the high walls of the beautiful McEwan
46 Doreen, Massey. A Global Sense of Place in Reading Human Geography. 1997. p. 5
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Hall in 2011, Edinburgh. Social networking and online accessibility has played a large
part in exposing past and current projects and has given public art a brighter stage
and for such a reason this is why using an online mapping model is ideal for the
dissemination of my project to the wider audience, not just in Edinburgh but further
afield.
The drawings of these local young men enlisted to help him achieve a change in the
representation of the stereotyped youth of our city give a positive image to the local
youth of Edinburgh. The large scale, engaging artworks seek to unmask the young
men that can often be lumped into labeled groups and demonized through gender,
age and dress, where judgment runs the race. The street pastings will also hopefully
bring new life and spatial discourse and lead to the possibility and production of new
works of Caslin and other artists being given a stage in Edinburgh.
The young man on the corner walkway wall of Guthrie Street has reinforced his place
in the Cowgate walkways. Miwon Kwon discusses the differences and function of
identity of the artists of its places in her essay Wrong Place; “Moving beyond the
inherited conception of site-‐specific art as a grounded, fixed (even if ephemeral),
singular event, the work of these younger artists are seen to advance an altogether
different notion of a site as predominantly an 'inter-‐textually' coordinated, multiply-‐
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located, discursive field of operation.”47
Miwon Kwon also discusses Lucy Lippard48 assertions we have a psychological need
to belong somewhere. Our city walls are the foundations of our home; they hold our
experiences and histories and as Edward Soja implies in his book Thirdspace49 is that
its part of our everyday life influenced in the unending histories, which Massey
reiterates by saying, ‘People have multiple connections and identities, the same can
be said for place’50
By amalgamating the two forms of memories of place and social identity the artworks
help us not only solidify and accentuate the differences of its dwellers as well as the
affinity with a place but also highlights the change of attitudes, multi-‐identities and
place as being in a constant state of flux. The temporal nature of the artwork in
contrast to the visual decay/development (tagging51) of Our Nations Sons, the images
are reactionary to place -‐a reaction to Edinburgh. The graffiti and the deterioration of
the pastings are all part of its continuing charm as a visual dialogue has erupted
between the artwork and its audience.
47 Miwon Kwon. The Wrong Place. Art Journal; Spring 2000. 59. 1. Research Library Core. p. 4 48 Miwon Kwon. One Place After Another. 2004. MIT Press. p. 157. Conclusion. I have taken reference from in conjunction with: Lucy Lippard; The lure of the Local. p. 157-‐8 (no direct quotes taken but great influence from Lippard in achieving an understanding of localizing place and its identity). 49 Edward Soja. Thirdspace. Blackwell. 1996. p. 57 50Doreen, Massey. A Global Sense of Place in Reading Human Geography. 1997. p. 6 51 I have taken reference from: Style Wars. 1983. http://www.stylewars.com/was a huge influence and insight into why people tag and create street murals and art in the early 80’s New York.
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As a local, it’s my view that the positives of the artwork and the perceived negatives
of the visual deterioration through tagging are an expression and act of participation.
Participation of the unlawful kind is still a mark of its audience and of the cross
hatchings of Edinburgh’s residents. Perhaps if there was more intervention and
opportunity for more public artworks, as a mark of peoples need to foster and
enhance our city by and for its people, and hopefully may take on some of the ideals
that other cities hold to cultivate public art; in turn my website project will highlight
these interactions through documentation.
Can’t we continually rethink our sense of place in contemporary Edinburgh? Place is
not in stasis, we must consider social and cultural cross hatchings and interactions,
Massey explains that these interaction are not motionless things, frozen in time. I
appreciate that a desire to have a sense of place can be rooted in the want for stability
and is an unproblematic view in regard to identity. However, in our globalized world,
boundaries are broken and dissolved. In the festival months of Edinburgh, this influx
and immediate sense of globalization, are a prime example of (but is unfortunately
time and event restricted) international appreciation and subjection of art and
culture.
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ALEPHS MOVED AGAIN
“Their story begins on the ground level, with footsteps” 52, and this is where it began
with my project: Alephs Moved Again. I’ve walked in circles, up what feels like a
thousand steps to the top of Arthurs Seat and back down again to the Sheep’s Heid in
Duddingston, Edinburgh and all around again; It’s the joy of the city I live in.
Wandering around this city is kind of where this project started to take roots. I
walked around, and for years have passed by the public art that is sited in the
pathways of Edinburgh population and year round tourists.
I walk past roughly a hand full of public artworks between my house and my work
and I began to realize that Edinburgh lacks contemporary permanent and temporary
public artworks (specifically non-‐bronzed artworks). Its not that the city doesn’t
have an abundance of memorials and monuments dedicated to the lives of admired
and innovative Scots, but what about artwork from the past few decades, the people
living in Edinburgh’s expression of contemporary issues. I suppose Edinburgh is now
a place for negotiations of place and artworks, negotiation of that diversity as part of
the character and markers of place.
52 Michel de Certeau. The Practice of Everyday Life. Translated by Steven Rendall. University of California Press. Berkeley. 1984. p. 106
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Why Aleph’s Moved Again? I came across the short story of The Aleph by pure
chance, but at such a mid stage in my project conception it was very welcome. The
story of Aleph is one which is a story of the passing of time, grief and tolerance for
emotional gains and the meanderings of what Borges says is the beginning of a
madman. But this madman’s musings in writings and poetry had shown an insight
into The Aleph. Now The Aleph is a thing, it is described as a malleable point in your
space, a presence in the shape of a sphere. A point and place in the darkness where
you become all seeing, you can see the fabric on a woman in India, you can see your
own bowels. This reminds me of Baudelaire’s description of the flanuer, a fraction of
psychogeography, at the beginning of this chapter: “To be away from home and yet to
feel oneself everywhere at home; to see the world, to be at the center of the world,
and yet to remain hidden from the world”53
The story of The Aleph had made so much sense to me as I had been struggling to
understand what it was that I was trying to define and appropriate about a place
being a fluid concept. I could read as much Edward Soja or Doreen Massey as I'd like,
but this fictional story of flexible space and the mobile concept of place gave me the
visual representation that I needed to continue in my understanding of the malleable
theory of place. In the Borges short story this sphere is described in as a limitless and
53 Baudelaire, Charles. The Painter of Modern Life and Other Essays. 1863. Edited and translated by Jonathan Mayne. Phaidon Press. 1964
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all seeing experience:
“I saw the circulation of my own dark blood; I saw the coupling of love and
the modification of death; I saw the Aleph from every point and angle, and
in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the
earth; I saw my own face and my own bowels; I saw your face; and I felt
dizzy and wept, for my eyes had seen that secret and conjectured object
whose name is common to all men but which no man has looked upon -‐-‐ the
unimaginable universe.”54
The story of The Aleph is my visual pointer on the map of understanding what this
flexibility means. It means that the thread of fluidity is integral in understanding the
dynamic nature a place has. I in no way discredit such views as place in the static
sense by such theorists as the Lucy Lippard in her book; The Lure of the Local.
I discussed earlier that many cities use art to define themselves, this isn’t always a
good thing; the Angel of the North has many mixed views. Edinburgh does not mark
itself by visual arts; perhaps a counter part to the production of public art is that it is
seen as a visual instrument of regeneration and in some cases gentrification.
Edinburgh’s city center doesn’t appear on the surface to require such regeneration as
54 The Aleph. Jorges Luis Borges. 1945. http://www.phinnweb.org/links/literature/borges/aleph.html
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it counteracts the heritage that is so tightly grasped onto. The city center lacks the
production of artworks, but what about the suburbs of Edinburgh. Areas such as
Wester Hailles, Craigmillar and parts of Leith may be seen as some of places that
require regeneration but have a greater production of visual arts projects over recent
years. The likes of Craigmillar and Wester Hailles miss out on the tourist influx and
are areas with much council housing – these factors can possibly lead to the more
liberal production of art that engages with its publics. Wester Hailles, Whale Arts
Agency and their current projects such a mural produced and created by local
children and Street Arts in front of the Healthy Living Centre site, Harversters Way
{Figure 11} (October 2012).
My website project Alephs Moved Again; in conjunction with a body of writing acts as
a form of dissemination in itself by documenting and discussing art in Edinburgh and
place as a dynamic notion. The website is mobile and iPad compatible and therefore
users are able to participate and interact with the technology whilst out in the city
(smartphone dependent). My aim is to give this visual resource to people and aid
them in their possibility of wandering55 and finding artworks with the information in
one online resource. In turn the website has the ability to receive posts of peoples
findings to continue the growth and participation of the website. 55 I cannot in this project aid people in the flâneur as it is self-‐defeating. But I can certainly give people the possibility of starting points and give people the ability to find things on their own, whilst having the online resource as a point of information about places in the city, and also a place where they can post their findings. This idea is an offering of a possibility/way to experience the city.
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By documenting artworks in Edinburgh – not limited to the city centre, the website
opens up the access to these works, much of the public artworks are usually
restricted to local foot traffic and the usage of the place. By using the Internet as a
tool of dissemination and embracing the globalization of people today through
technology, I can expand and open the discussion of the conflicts of place between
uses and cultures. In the website I have used photography through Creative
Commons licencing or through permissions form the photographer. By linking the
web image back to the original online location I am creating the beginnings of a
network with my website at the core. This will enhance the chance of dissemination
by creating a network of communication and knowledge. When creating the website
it was important for me to try to create a network, as part of the premise of the
website is not just to document the public artworks, but also to give users and
visitors of the online map of artwork, to participate. The user can add images to
existing posts and comments about the artwork, which will produce a place for
discussion and review. To increase the likelihood of the building of a meaningful
network and its dissemination, I promoted Alephs Moved Again on social media
networks. All contact on the site will be future possibilities for the site to include the
addition of other cities. The website has the ability to ‘like’ and ‘share’ postings and
places via such networking sites to distribute the website.
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Alephs Moved Again was born out of a reaction to my frustration with a lack of
permanent art in the streets of Edinburgh (outwith the festival months). It was born
from this idea that Jorge Luis Borges so wonderfully described as The Aleph, this
point in place, space and time where you can see all, the identities of all, the actions of
all and the foundations of all. This idea is admittedly unachievable but the website I
have produced gives you a chance to see what is around you by either walking or via
the website, to see an artwork in your path and see the cultures imbued within that
place and artwork and view the discussion online and hopefully input from other
people as they are able to post images and text in regard to artworks and suggest
posts as myself as the moderator.
'Walking is seen as contrary to the spirit of the modern city with its promotion of
swift circulation and the street-‐level gaze that walking requires allows one to
challenge the official representation of the city by cutting across established routes
and exploring those marginal and forgotten areas often overlooked by the city's
inhabitants. In this way the act of walking becomes bound up with
psychogeographical characteristics political opposition to authority, a radicalism'. 56
This is a substantive reference as it brings in my ideas of Edinburgh Aesthetics and
how we should be productive and alter the way art is produced and seen in the city,
56 Merlin Coverley. Psychogeography. Pocket Edition. Oldcastle Books. 2006. p. 12
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through temporary acts of art to release the city from its paternalistic views of what
is the right kind of controlled and permit orientated art that pedestrians could be
exposed to.
Re-‐assessing and attempting to define the Edinburgh Aesthetic is key in this paper,
and by documenting the existing public art in Edinburgh we can begin to pin point
what areas are lacking and can be improved upon. For example, we can see from my
website that a large percentage of the permanent commissioned artworks in
Edinburgh are bronze statues and sculptures aimed at celebrating the lives of
extraordinary and influential people. I conclude that we require artwork that not
only does this but pushes the contemporary nature of art, by including the residents
in the production process and by maintaining the documentation and representation
of public art in Edinburgh, and ideally have an body of artists and residents, much like
public arts organization: Big Things on the Beach, Portobello, Edinburgh in the
production of not just temporary artworks but permanent artworks that are
progressive in style, nature and subject. I hope that Alephs Moved Again can, not
only become a resource of information and mapping of contemporary public art but
also to become a platform for the production and encouragement of public art and
events in the long run.
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CONCLUSION
In my attempt to define the Edinburgh Aesthetic I have created my interpretation and
attempt to map points of visual expressions and act as a resource for the
dissemination of Edinburgh’s public art; and I will continue to document new
artworks and events in the future. I hope to distribute the artworks that we have in
our city, in the future be a place to disseminate the public art events and artworks
Edinburgh has, be a platform for the production of new artworks, and continuously
encourage a reaction and expression of the city.
I started this project for myself, as I wanted to know what artworks are in the streets
of Edinburgh and I was frustrated by conservative nature and the lack of production
over the past few decades. By cataloguing and documenting existing public artworks
on my specifically created website; permanent, temporary/ephemeral artworks and
curiosities are place markers of the city. The website documents the place where the
artwork resides and offer a point of discussion of the context of the artwork. The
dynamic nature of place and the artworks in its place is the binding goal behind the
project. I hope those like myself who are interested in public artworks will find this
website a valuable resource and encouragement in the proposals and production of
public art.
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I must mention that by focusing the production of public art by engaging with and for
the residents; by omitting such policy requirements to encourage economic growth
and activity mentioned in chapter 1 is that I assume that it will produce or lead to
producing ‘good’ art. This may not in fact be the case, my conclusion arrives at the
possibility that the creation of artwork, by working equally with both policy and
creation to produce artwork, which is representative of current cultural expressions
of the public, whilst respecting and being accepting of the heritage Edinburgh is so
proud of.
In the process of this project, I have produced this website; I have had online tutorials
in regard to using a customized template in conjunction with wordpress.com which
includes an integrated map, and assistance when using CSS programming language;
and guidance in the design and user activity of Alephs Moved Again.
Guidance and tutorials were necessary as I had no prior knowledge of using and
adapting code in the developing of a custom website, I have learnt a great amount
about the creation of template websites and I am confident in the maintenance and
development of the further use of the website. For example in the future the
development of the project will include:
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• Smartphone application launch (Will be available on the iTunes Store)
• Expand the scope, to include user reviews and writing by others on the topic of
public arts.
• Become a platform for the creation of temporary public arts.
• Become a well known popular listings resource of public art.
• Multiple city capability to other cities and places
By exploring Edinburgh with my website as a tool, and attempting to define the
Edinburgh Aesthetic, I’ve demonstrated that Public Art in this city is based and stifled
by the sensibility of its independent commissioning bodies, as well as the City of
Edinburgh Council as the production of public art is preoccupied with heritage,
conservation of history and tourism to produce non bronzed monument based,
progressive public artworks.
Through documenting the artworks in the city, many permanent public artworks are
produced in association with the Percent for Art scheme, administrated by the City
Council. The majority of these artworks are produced in association with private
organizations, in part as a catalyst of regeneration or enhancement of historical areas,
to better and encourage communities – although as Doreen Massey and Gillian Rose
state in their report commissioned by Milton Keynes City Council, that there is no real
evidence that public art achieves any sense of regeneration of a place.
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Place has been a binding thread throughout this research to explore the Edinburgh
Aesthetic and to document and assess public art in this city. By referencing place as a
fluid notion it acknowledges Edinburgh is a city full of cross-‐hatchings of cultures and
identities, constantly in flux. In documenting the artworks I have highlighted the
artworks we have, what is lacking and in my opinion what is required to produce new
relevant contemporary public art in Edinburgh. The long-‐term goal in for the
acknowledgment of a culturally dynamic (hybridity57) city is to give rise to something
new, new negotiations of meaning and representation.
The geographer’s viewpoint and analysis of a dynamic sense of place in conjunction
with my attempted definition of the Edinburgh Aesthetic has been essential in
understanding the use of public artworks, and discussing the context in which they
currently sit to enable me to document the artworks and progress with my project to
become a resource.
57 Referenced from Jonathan Rutherford. "The Third Space. Interview with Homi Bhabha." Identity: Community, Culture, Difference. London: Lawrence & Wishart. 1998. p. 211
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WEBSITE AND PORTFOLIO LOCATION
My Master’s Project has culminated in the production and dissemination of the website Alephs Moved Again, which documents public art in Edinburgh.
• The website for assessment is: alephsmovedagain.com Portfolio information and links in regard to the website Alephs Moved Again
• Portfolio as part of the assessment is available: o http://catrionablackdinham.wordpress.com/
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ILLUSTRATION FIGURE LIST
{Figure 1, p.1}
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{Figure 2, p. 6, 15, 18}
• David Hume, Alexander Stoddart, Royal Mile Edinburgh, 1995-‐97
• Danny Yee, who has licensed it under GFDL, Creative Commons Generic Attribution / Share-‐
Alike 3.0
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{Figure 3, p. 9}
• Horse, Rider, Eagle, Eoghan Bridge, Stockbridge, Edinburgh, 1997
• © Copyright Kim Traynor and licensed for reuse under this Creative Commons Licence.
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{Figure 4, p. 9}
• Tilted Arc, New York, Richard Serra, 1981
• http://en.wikipedia.org/wiki/File:Tilted_arc_en.jpg
• Per § 107 it is believed that reproduction for criticism, comment, teaching and scholarship
constitutes fair use and does not infringe copyright.
{Figure 5, p. 13}
• 6 Times, Edinburgh, Antony Gormley, 2010
• © Copyright Greame Pow and licensed for reuse under this Creative Commons Licence.
Alephs Moved Again
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{Figure 6, p. 14, 17}
• Industry of Leith, Street Artworks, Tim Chalk and Paul Grime 1986
• © Copyright Kim Traynor and licensed for reuse under this Creative Commons Licence.
{Figure 7, p. 18}
• Anish Kapoor, Cloud Gate, Chicago
• http://www.flickr.com/photos/teachandlearn/with/4059945150/
Alephs Moved Again
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{Figure 8, p. 18}
• Orbit Tower, Anish Kapoor and Cecil Barmond, London, 2012
• http://www.flickr.com/photos/11561957@N06/with/7530787670/
Alephs Moved Again
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{Figure 9, p. 18}
• The Spire of Dublin, officially called the Monument of Light, Ian Ritchie, 2003
• Permission is granted to copy, distribute and/or modify this document under the terms of
the GNU Free Documentation License
Alephs Moved Again
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{Figure 10, p. 21}
• Our Nations Son’s, Joe Caslin, Edinburgh, 2011
• Joe Caslin and S Moon have copyright for all images of project
Alephs Moved Again
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{Figure 11, p. 26}
• WHALE arts Agency Wester Hailles, Mural 2012
• https://fbcdn-‐sphotos-‐h-‐a.akamaihd.net/hphotos-‐ak-‐
ash4/308043_455587904483389_2030224308_n.jpg
Alephs Moved Again
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