Title : "Emptiness and absence contradict the very concept of the city. The point of a city is social proximity..."
link : "Emptiness and absence contradict the very concept of the city. The point of a city is social proximity..."
"Emptiness and absence contradict the very concept of the city. The point of a city is social proximity..."
"... to see people deliberately spaced out, like the walking but never intersecting figures in a Giacometti, is to see what cities aren’t. In a historical sense, cities are always organisms of a kind, like coral reefs, where a lot of people come together to barter spices and exchange ideas and find mates, and endure the recurrent damage of infectious disease.... Outside, new patterns of wider spacing and greater caution assert themselves: Is that masked man contagious and to be avoided by crossing the street?... Until last week, no one ever thought that Camus’s 'The Plague' was about the plague. It was the text through which generations of high schoolers were taught how not to read literally. It was always taken as a fable or an allegory, specifically of the German occupation of France. The people in Camus’s plague town of Oran did not in any way deserve to suffer from the disease, but the crisis revealed all the various human responses of cowardice, denial, and courage. The point was not that actual plagues tell us much, but that the pressure of extreme and unexpected events forces the flaws in our common character to the surface."From "The Coronavirus Crisis Reveals New York at Its Best and Worst/In a time of containment, the city searches for a way forward" by Adam Gopnik (in The New Yorker).
Here's "The Plague" by Albert Camus, in case you don't already have it and you want to read/reread it. I just put it in my Kindle (though I have read it twice, quite a while back, including that time in high school French class).
And here's the Giacometti sculpture I'm 99% sure Gopnik had in mind:
It's "Piazza" (a familiar sight at the Guggenheim in NYC). And here's sculptor's explanation:
"In the street people astound and interest me more than any sculpture or painting. Every second the people stream together and go apart, then they approach each other to get closer to one another. They unceasingly form and re-form living compositions in unbelievable complexity.... It’s the totality of this life that I want to reproduce in everything I do...."So Giacometti did not think his figures were — as Gopnik put it — "walking but never intersecting." Giacometti saw the figures streaming together, then going apart, then approaching again. The artist was not — as Gopnik saw it — "see[ing] what cities aren’t." That is, the writer was seeing what the sculptor was not.
Giacometti was seeing what cities are — in times of plague and normal times — a living, moving, continual coming together and moving apart. We're in an apart phase, but we are together in our hearts, and we are keeping the city — the civilization — alive.
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