The observer-participant dialectic is evidenced in part by the dandy culture. Highly self-aware, and to a certain degree flamboyant and theatrical, dandies of the mid-nineteenth century created scenes through outrageous acts like walking turtles on leashes down the streets of Paris. Such acts exemplify a flâneur's active participation in and fascination with street life while displaying a critical attitude towards the uniformity, speed, and anonymity of modern life in the city.
The term flâneur comes from the French masculine noun flâneur—which has the basic meanings of "stroller", "lounger", "saunterer", "loafer"—which itself comes from the French verb flâner, which means "to stroll". Charles Baudelaire developed a derived meaning of flâneur—that of "a person who walks the city in order to experience it". Because of the term's usage and theorization by Baudelaire and numerous thinkers in economic, cultural, literary and historical fields, the idea of the flâneur has accumulated significant meaning as a referent for understanding urban phenomena and modernity. In French Canada flâner is rarely used to describe strolling and often has a negative connotation as the term's most common usage refers to loitering.
Flâneur is not limited to someone committing the physical act of a peripatetic stroll in the Baudelairian sense, but can also include a "complete philosophical way of living and thinking", and a process of navigating erudition as described by Nassim Nicholas Taleb's essay on "why I walk" in the second edition of The Black Swan (2010). Louis Menand, in seeking to describe T.S. Eliot's relationship to English literary society and his role in the formation of modernism, describes Eliot as a flaneur (The New Yorker,September 19, 2011, pp. 81–89?) (wikipédia)
(mixer comic shop)
The flâneur's tendency toward detached but aesthetically attuned observation has brought the term into the literature of photography, particularly street photography. The street photographer is seen as one modern extension of the urban observer described by nineteenth century journalist Victor Fournel before the advent of the hand-held camera:
This man is a roving and impassioned daguerreotype that preserves the least traces, and on which are reproduced, with their changing reflections, the course of things, the movement of the city, the multiple physiognomy of the public spirit, the confessions, antipathies, and admirations of the crowd. ("Ce qu'on voit dans les rues de Paris", What one sees on the streets of Paris) (wikipédia)
|reklám és szemétláda:|
"Host an Tscick"
Du hast es inder Hand. Bau keinen mist.
Tag- und Nachtaktiv
The most notable application of flâneur to street photography probably comes from Susan Sontag in her 1977 essay, On Photography. She describes how, since the development of hand-held cameras in the early 20th century, the camera has become the tool of the flâneur:
The photographer is an armed version of the solitary walker reconnoitering, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes. Adept of the joys of watching, connoisseur of empathy, the flâneur finds the world 'picturesque.' (pg. 55) (wiki)
|analóg patina, városkép, retro, szép|
Dana Brand, an American literature scholar, notes that in mid 19th century "[t]he New York flaneurs were always comparing their productions to panoramas, dioramas and daguerrotypes", and they often visited and described Barnum's American Museum. Brand argues that "[t]hese panoramic spaces, containing the entire multiplicity of the world and presenting it as a spectacle to be consumed, appeared to spectatorial narrators to be the most representative spaces in their respective cities, the one true metaphor for the whole." (Spectator and the City in Nineteenth-Century American Literature) (wiki)
There is no English equivalent for the French word flâneur. Cassell's dictionary defines flâneur as a stroller, saunterer, drifter but none of these terms seems quite accurate. There is no English equivalent for the term, just as there is no Anglo-Saxon counterpart of that essentially Gallic individual, the deliberately aimless pedestrian, unencumbered by any obligation or sense of urgency, who, being French and therefore frugal, wastes nothing, including his time which he spends with the leisurely discrimination of a gourmet, savoring the multiple flavors of his city. (Cornelia Otis Skinner, Elegant Wits and Grand Horizontals, 1962, Houghton Mifflin, New York) (wiki)
|errefelé sárga a postaláda|
(ronda forma, ráadásul koszlott)
While Baudelaire characterized the flâneur as a "gentleman stroller of city streets", he saw the flâneur as having a key role in understanding, participating in and portraying the city. A flâneur thus played a double role in city life and in theory, that is, while remaining a detached observer. This stance, simultaneously part of and apart from, combines sociological, anthropological, literary and historical notions of the relationship between the individual and the greater populace. After the 1848 Revolution in France, after which the empire was reestablished with clearly bourgeois pretensions of "order" and "morals", Baudelaire began asserting that traditional art was inadequate for the new dynamic complications of modern life. Social and economic changes brought by industrialization demanded that the artist immerse himself in the metropolis and become, in Baudelaire's phrase, "a botanist of the sidewalk". David Harvey asserts that "Baudelaire would be torn the rest of his life between the stances of flâneur and dandy, a disengaged and cynical voyeur on the one hand, and man of the people who enters into the life of his subjects with passion on the other" (Paris: Capital of Modernity 14). (wiki)
The concept of the flâneur is important in academic discussions of the phenomenon of modernity. While Baudelaire's aesthetic and critical visions helped open up the modern city as a space for investigation, theorists, such as Georg Simmel, began to codify the urban experience in more sociological and psychological terms. In his essay "The Metropolis and Mental Life", Simmel theorizes that the complexities of the modern city create new social bonds and new attitudes towards others. The modern city was transforming humans, giving them a new relationship to time and space, inculcating in them a "blasé attitude", and altering fundamental notions of freedom and being:
“ The deepest problems of modern life derive from the claim of the individual to preserve the autonomy and individuality of his existence in the face of overwhelming social forces, of historical heritage, of external culture, and of the technique of life. The fight with nature which primitive man has to wage for his bodily existence attains in this modern form its latest transformation. The eighteenth century called upon man to free himself of all the historical bonds in the state and in religion, in morals and in economics. Man's nature, originally good and common to all, should develop unhampered. In addition to more liberty, the nineteenth century demanded the functional specialization of man and his work; this specialization makes one individual incomparable to another, and each of them indispensable to the highest possible extent. However, this specialization makes each man the more directly dependent upon the supplementary activities of all others. Nietzsche sees the full development of the individual conditioned by the most ruthless struggle of individuals; socialism believes in the suppression of all competition for the same reason. Be that as it may, in all these positions the same basic motive is at work: the person resists being leveled down and worn out by a social-technological mechanism. An inquiry into the inner meaning of specifically modern life and its products, into the soul of the cultural body, so to speak, must seek to solve the equation which structures like the metropolis set up between the individual and the super-individual contents of life. ("The Metropolis and Mental Life")
|Bar - Nightclub Schönbrunn|
pinabár, gerilla reklám
The concept of the flâneur has also become meaningful in architecture and urban planning describing those who are indirectly and unintentionally affected by a particular design they experience only in passing. Walter Benjamin adopted the concept of the urban observer both as an analytical tool and as a lifestyle. From his Marxist standpoint, Benjamin describes the flâneur as a product of modern life and the Industrial Revolution without precedent, a parallel to the advent of the tourist. His flâneur is an uninvolved but highly perceptive bourgeois dilettante. Benjamin became his own prime example, making social and aesthetic observations during long walks through Paris. Even the title of his unfinished Arcades Project comes from his affection for covered shopping streets. In 1917, the Swiss writer Robert Walser published a short story called "Der Spaziergang", or "The Walk", a veritable outcome of the flâneur literature.
“ The crowd was the veil from behind which the familiar city as phantasmagoria beckoned to the flâneur. In it, the city was now landscape, now a room. And both of these went into the construction of the department store, which made use of flânerie itself in order to sell goods. The department store was the flâneur's final coup. As flâneurs, the intelligensia came into the market place. As they thought, to observe it - but in reality it was already to find a buyer. In this intermediary stage [...] they took the form of the bohème. To the uncertainty of their economic position corresponded the uncertainty of their political function. (Walter Benjamin (1935), «Paris: the capital of the nineteenth century», in Charles Baudelaire: a lyric poet in the era of high capitalism) ”
In the context of modern-day architecture and urban planning, designing for flâneurs is one way to approach issues of the psychological aspects of the built environment. Architect Jon Jerde, for instance, designed his Horton Plaza and Universal CityWalk projects around the idea of providing surprises, distractions, and sequences of events for pedestrians. (wiki)
|es ist vorbei|
vége a dalnak
|cukorka-automata gyerekeknek és pedóbácsiknak|
|a fasizmus elleni harc nem lankadhat|
a street-arton túli szimpla köcsögök
"writerek", teg és bomba az életművük
|öntöttvas Demszky-karók Bécsben :)|
The atmosphere of a few places gave us a few intimations of the future powers of an architecture that it would be necessary to create in order to provide the setting for less mediocre games.
by Luke Shepard
On the Passage of a Few Persons Through a Rather Brief Unity of Time: