My interview with artist Lucy Harrison has been published in the issue of Drain Magazine which is focuses on the theme of Psychogeography. The interview was initially undertaken as part of my research for the article, The Art of Misdirection.
Image: Lucy Harrison:Guided Tour; Riga (2005)
Psychogeography: background to the issue
In 1955, Guy Debord described psychogeography as “the study of the specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” Debord’s psychogeographical map The Naked City (1957) challenged traditional ideas of mapping relating to scale, location, and fixity, and drew on the work of urban social geographer Paul-Henri Chombart de Lauwe’s concept of the city as a conglomeration of distinct quarters, each with its own special function, class divisions, and “physiognomy,” which linked the idea of the urban plan to the body. An important strategy of the pyschogeographical was the dérive, “a technique of transient passage through varied ambiences”. The ‘psychogeographical’ has had a pervasive if somewhat amorphous role in contemporary art and culture. As a creative, social and political tactic, wandering through psychogeographic spaces is pertinent to a diverse range of practices including the use of GPS systems, Internet art, photography as well as sound and performance art. This issue of Drain attempts to gather a series of essays, artworks and creative writings that reflect on the current state of psychogeography. How have contemporary artists, writers and thinkers interpreted, or been influenced by, the legacy of psychogeography?
- emma cocker
- Emma Cocker is a writer-artist based in Sheffield and Associate Professor in Fine Art at Nottingham Trent University. Operating under the title Not Yet There, Cocker's research focuses on artistic processes and practices, and the performing of ‘thinking-in-action’ emerging therein; on models of (art) practice and subjectivity that resist the pressure of a single, stable position by remaining wilfully unresolved. Her mode of working unfolds restlessly along the threshold between writing/art, including experimental, performative and collaborative approaches to producing texts parallel to and as art practice. Cocker's practice involves ‘contiguous writing’ — a mode of creative-critical writing that seeks to touch upon rather than being explicitly about. Her writing has been published in Failure, 2010; Stillness in a Mobile World, 2010; Drawing a Hypothesis: Figures of Thought, 2011; Hyperdrawing: Beyond the Lines of Contemporary Art, 2012; Reading/Feeling (Affect), 2013; On Not Knowing: How Artists Think, 2013; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, and as a solo collection, The Yes of the No, 2016.