Untitled Document<\/title>\r\n\r\n<style type=\"text\/css\">\r\n\r\n<\/style>\r\n<\/head>\r\n\r\n<body>\r\n <\/p>\r\n<a href=\"http:\/\/foucault.info\/documents\/heteroTopia\/foucault.heteroTopia.en.html\" target=\"_blank\" class=\"style1 style1\" rel=\"noopener\">Michel Foucault: Of Other Spaces (1967), Heterotopias<\/a><\/p>\r\nintruduction by Miklós Erhardt <\/strong><\/p>\r\n I am not sure how much current relevance the text below has. It must have some, as I found it in The Visual Culture Reader <\/em>edited by Nicolas Mirzoeff (Routledge, 1998), and then looked for the French original on the internet. Albeit cool and distant, it still forms part of the western, Left-oriented social criticism that stretches from the sixties to the present day – a literature that is so little known in Hungarian translation that even its basic concepts seem to be missing from the language.<\/p>\r\n It is an old text – not even a text really, but rather notes, full of repetitions and obscurities. It can even seem didactic at times, most of all, oddly, when treating the most impressionistic subjects. It is full of words denoting doubt, surmise, and hesitation, almost to the point of provocation. The reader entertains some suspicions, but appreciates the courtesy involved.<\/p>\r\n It dates from 1967, a year before the student uprisings when Guy Debord wrote The Society of the Spectacle<\/em>, though our text speaks in an entirely different voice; it contains nothing of the apocalyptic, but rather reproduces the atmosphere of schools with a glorious past, the air of the École Normale Superieure. One of its fundamental statements is that ours is the century of space (the implication being that this is not the century of time, which has stopped, and become the system for spatial “arrangements.” This is the basic experience of the society of the spectacle. <\/p>\r\n Referring to Foucault, Mirzoeff notes that this text presents the first appearance of spatial thinking that led to the idea of Foucault’s Surveiller et punir<\/em> of 1975. Foucault does not differ significantly in his conclusions from Debord (though with a large dose of scholarly acquiescence), up to and including the legitimation of terrorism as a way of living. This even though Foucault stood on the ground of Structuralism, and there were few things Debord despised more. In Debord’s view, structuralism is an “icy dream” <a href=\"#_ftn1\" name=\"_ftnref1\">1<\/a> that denies the existence of time – and history itself – by setting its goal as the neutral study of cold formal categories, while at the same time providing an epistemological foundation for capitalism as the eternal order. Foucault, the scholar, does not begin by ranting against what is<\/em>, but examines it thoroughly instead.<\/p>\r\n This text is an instructive introduction to what we now know as visual culture<\/em>: to use Debord’s term, visual culture is the spectacle<\/em> itself.<\/p>\r\n <\/em><\/p>\r\n <div align=\"right\">\r\n Translated by: Jim Tucker\r\n<\/em><\/p>\r\n\r\n <\/p>\r\n <\/div>\r\n <hr>\r\n <a href=\"#_ftnref1\" name=\"_ftn1\">1<\/a> Structures are the progeny of established powers. Structuralism is thought underwritten by the state, a form of thought that regards the present conditions of spectacular "communication" as an absolute. Its method of studying code in isolation from content is merely a reflection of a taken-for-granted society where communication takes the form of a cascade of hierarchical signals. Structuralism does not prove the transhistorical validity of the society of the spectacle; on the contrary, it is the society of the spectacle, imposing itself in its overwhelming reality, that validates the frigid dream of structuralism. (The Society of the Spectacle, VIII.\/202., translated by Ken Knabb)\r\n<\/body>\r\n<\/html>","protected":false},"excerpt":{"rendered":"Untitled Document Michel Foucault: Of Other Spaces (1967), Heterotopias intruduction by Miklós Erhardt I am not sure how much current relevance the text below has. It must have some, as I found it in The Visual Culture Reader edited by Nicolas Mirzoeff (Routledge, 1998), and then looked for the French original on the internet. […]<\/p>\n","protected":false},"author":1,"featured_media":630251,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7],"tags":[],"class_list":["post-400253","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-nem-tema"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400253","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/comments?post=400253"}],"version-history":[{"count":1,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400253\/revisions"}],"predecessor-version":[{"id":2024097,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400253\/revisions\/2024097"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630251"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400253"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400253"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400253"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

{"id":400253,"date":"2004-08-08T22:00:00","date_gmt":"2004-08-08T22:00:00","guid":{"rendered":"https:\/\/exindex.hu\/?p=400253"},"modified":"2022-06-21T18:06:59","modified_gmt":"2022-06-21T17:06:59","slug":"mas-terekrol-1967","status":"publish","type":"post","link":"https:\/\/exindex.hu\/en\/nem-tema\/mas-terekrol-1967\/","title":{"rendered":"Of Other Spaces (1967)"},"content":{"rendered":"\r\n\r\n\r\n\r\nUntitled Document<\/title>\r\n\r\n<style type=\"text\/css\">\r\n\r\n<\/style>\r\n<\/head>\r\n\r\n<body>\r\n <\/p>\r\n<a href=\"http:\/\/foucault.info\/documents\/heteroTopia\/foucault.heteroTopia.en.html\" target=\"_blank\" class=\"style1 style1\" rel=\"noopener\">Michel Foucault: Of Other Spaces (1967), Heterotopias<\/a><\/p>\r\nintruduction by Miklós Erhardt <\/strong><\/p>\r\n I am not sure how much current relevance the text below has. It must have some, as I found it in The Visual Culture Reader <\/em>edited by Nicolas Mirzoeff (Routledge, 1998), and then looked for the French original on the internet. Albeit cool and distant, it still forms part of the western, Left-oriented social criticism that stretches from the sixties to the present day – a literature that is so little known in Hungarian translation that even its basic concepts seem to be missing from the language.<\/p>\r\n It is an old text – not even a text really, but rather notes, full of repetitions and obscurities. It can even seem didactic at times, most of all, oddly, when treating the most impressionistic subjects. It is full of words denoting doubt, surmise, and hesitation, almost to the point of provocation. The reader entertains some suspicions, but appreciates the courtesy involved.<\/p>\r\n It dates from 1967, a year before the student uprisings when Guy Debord wrote The Society of the Spectacle<\/em>, though our text speaks in an entirely different voice; it contains nothing of the apocalyptic, but rather reproduces the atmosphere of schools with a glorious past, the air of the École Normale Superieure. One of its fundamental statements is that ours is the century of space (the implication being that this is not the century of time, which has stopped, and become the system for spatial “arrangements.” This is the basic experience of the society of the spectacle. <\/p>\r\n Referring to Foucault, Mirzoeff notes that this text presents the first appearance of spatial thinking that led to the idea of Foucault’s Surveiller et punir<\/em> of 1975. Foucault does not differ significantly in his conclusions from Debord (though with a large dose of scholarly acquiescence), up to and including the legitimation of terrorism as a way of living. This even though Foucault stood on the ground of Structuralism, and there were few things Debord despised more. In Debord’s view, structuralism is an “icy dream” <a href=\"#_ftn1\" name=\"_ftnref1\">1<\/a> that denies the existence of time – and history itself – by setting its goal as the neutral study of cold formal categories, while at the same time providing an epistemological foundation for capitalism as the eternal order. Foucault, the scholar, does not begin by ranting against what is<\/em>, but examines it thoroughly instead.<\/p>\r\n This text is an instructive introduction to what we now know as visual culture<\/em>: to use Debord’s term, visual culture is the spectacle<\/em> itself.<\/p>\r\n <\/em><\/p>\r\n <div align=\"right\">\r\n Translated by: Jim Tucker\r\n<\/em><\/p>\r\n\r\n <\/p>\r\n <\/div>\r\n <hr>\r\n <a href=\"#_ftnref1\" name=\"_ftn1\">1<\/a> Structures are the progeny of established powers. Structuralism is thought underwritten by the state, a form of thought that regards the present conditions of spectacular "communication" as an absolute. Its method of studying code in isolation from content is merely a reflection of a taken-for-granted society where communication takes the form of a cascade of hierarchical signals. Structuralism does not prove the transhistorical validity of the society of the spectacle; on the contrary, it is the society of the spectacle, imposing itself in its overwhelming reality, that validates the frigid dream of structuralism. (The Society of the Spectacle, VIII.\/202., translated by Ken Knabb)\r\n<\/body>\r\n<\/html>","protected":false},"excerpt":{"rendered":"Untitled Document Michel Foucault: Of Other Spaces (1967), Heterotopias intruduction by Miklós Erhardt I am not sure how much current relevance the text below has. It must have some, as I found it in The Visual Culture Reader edited by Nicolas Mirzoeff (Routledge, 1998), and then looked for the French original on the internet. […]<\/p>\n","protected":false},"author":1,"featured_media":630251,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7],"tags":[],"class_list":["post-400253","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-nem-tema"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400253","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/comments?post=400253"}],"version-history":[{"count":1,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400253\/revisions"}],"predecessor-version":[{"id":2024097,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400253\/revisions\/2024097"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630251"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400253"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400253"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400253"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}