Representing  everyday  urban  experience  through  subjective  psychogeography    

 

                                             

Lynn  Kim  28  March  2012  

 MA  Graphic  Design  

Camberwell  College  of  Art  University  of  the  Arts  London  

   

         

  2  

 Representing  everyday  urban  experience  through  subjective  psychogeography      

Lynn  Kim  MA  Graphic  Design,  Camberwell  College  of  Art    

Abstract  

The   city   is   a   sum  of   stories.   The   city   is   not   simply   hardware.   It   is  more   about   stories  

made  by  its  inhabitants,  especially  urban  wanderers.  In  Seoul,  even  without  taking  into  

consideration  stories  of  space,  rapid  uniform  redevelopment  has  caused  loss  of  identity  

of  the  city.  This  research  uses  psychogeographical  method  to  record  urban  experience  to  

visualize  the  invisible  stories  of  the  city.  By  analysing  three  experiments,  I  tried  to  find  

the  appropriate  approach  to  examining  Seoul’s  urban  environment.  The  first  and  second  

experiments  examined  a  quantitative  measuring  system  for  a  subjective  urban  journey  

in   order   to   persuade   decision   makers.   In   these   experiments,   I   found   that   a   journey  

cannot   be  measured   objectively,   and   the   power   of   the   playful   approach   to  wandering  

which  psychogeography  contains  failed,  as  did  the  Situationist  International.  In  the  light  

of   empowering   playful   process   of   wandering   itself,   the   literary   tradition   of  

psychogeography   of   London   was   the   third   experiment.   By   photographing   and   using  

fictional   narrative   stories,   I   found   relationships   between   the   walking   process   and  

specific  space.      In  the  absence  of  real  urban  literature  in  Seoul,  I  want  to  use  narrative  

storytelling   as   a   graphic   communicator   in   further   studies.   A   story   created   by   artists  

relates  historically  and  locally  to  a  specific  place  and  resonates  with  the  public.    This  can  

be  overlaid  and  reworked  into  the  city.  The  sum  of  the  stories  is  a  real  city.  

 

Keywords:  psychogeography,  Seoul,  urban  experience,  walking  

 

 

  3  

 Introduction  

The  urban  environment  within  Seoul  has  been  changing  rapidly  over  the  last  fifty  years  

due   to   high-­‐speed   economic   growth.       Citizens’   demands   have   shifted   from   function-­‐

oriented  efficiency  to  more  aesthetic  aspects  of  the  everyday  urban  experience  and,  as  a  

result,   in   the   last   five   years,   the   government   has   undertaken   massive   urban  

redevelopment.     Unfortunately,   certain   approaches,   which   ignored   the   real   life   of   the  

people  in  the  city  and  only  considered  short-­‐term  political  gain,  turned  lacked  historical  

and   local   consistency.     For   instance,   one   historical,   traditional   road,   named   Pimat-­‐gol  

(see   fig.1),   and   dating   back   to   the   Chosun   dynasty,   was   completely   demolished   and  

redeveloped   into   a   commercial   arcade.   As   a   consequence   of   this,   Pimat-­‐gol   lost   its  

identity  and  changed  into  a  featureless,  straight,  modernized  road  with  no  regard  for  its  

original  story  (see  fig.2).    The  word  ‘Pimat’  means  to  escape  from  horses,  so  this  road  -­‐  

gol   -­‐   was   used   as   a   shortcut   to   avoid   the   traffic   jams   created   by   the   Royal   family’s  

horseback   parade.   The   hidden   urban   labyrinth   in   this   area   included   historical  

restaurants  and  bars,  which  are  still  recalled  today  by  older  generations.    

 

   Figure  1.  

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 Figure  2.    

Using   the   example   of   Pimat-­‐gol,   I   see   a   city   as   the   sum   of   many   parts,   forming   an  

invisible  urban  experience,  and,  thereby,  creating  the  heart  and  unique  atmosphere  of  a  

city.    When  this,  more  subtle,  quality  of  city  life  is  ignored  in  favour  of  the  mechanics  of  

the   infrastructure,   then   there   is   a   potential   for   problems   to   arise.     As   a   visual  

communicator,  I  want  to  find  a  way  to  communicate  this  subtle  invisible  aspect  of  city  to  

urban  design  decision  makers  and  citizens  through  visualised  media.    To  achieve  this,  a  

psychogeographical  approach  is  discussed  in  the  context  of  my  methods,  plus  the  origin  

and   theoretical   underpinnings   of   this   term.     The   term   psychogeography   has   been  

defined  in  various  ways.    Debord  (1955)  defined  the  idea  of  psychogeography  in  relation  

to  Paris.  However,   this  visionary  tradition  had  long  before  been  evident   in  London.     In  

this  research,  I  focus  on  analysing  the  differences  in  the  definitions  of  psychogeography  

in  these  two  cities,  and  then  examine  my  own  visual  journey  undertaken  in  London.  By  

examining   the   effect   of   both   psychogeographical   methods,   I   aim   to   find   the   best  

approach  for  the  urban  environmental  issues  in  Seoul.    

 

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Two  opposing  perspectives  on  the  city  

There  have  been  two  ways  of  viewing  the  city.    De  Certeau  described   it  by  contrasting  

New  York  and  old  European  cities.    Unlike  London  and  Paris,  New  York  identifies  itself  

by  constant  renewal  and  two  opposing  perspectives  on  the  city  illustrate  these  contrasts:  

‘the   city   of   voyeur   and  walker’.   (De   Certeau,   1984:91)  When  we   look   at   the   city  with  

God’s   eye   view,   the   urban   flux   is   objective   and   we   are   outside   its   influence.     This   is  

described  as  a  voyeur’s  perspective  where  the  physical  city  is  not  connected  to  the  real  

experience  of  oneself.    In  contrast,  when  we  walk  in  the  city,  the  street  level  view  of  the  

walker  provides  vivid  impressions.    Building  on  De  Certeau’s  dual  perspective,  Coverley  

(2010)   goes   on   to   say   that   ‘the   totalising   gaze   of   the   voyeur   sees   the   city   as   a  

homogenous  whole,   and   anonymous   urban   space   that   sees   no   place   for   individual   or  

separate  identities  and  which  erases  or  suppresses  the  personal  and  the  local’  (Coverley,  

2010:105).     It   is   closely   related   to   the  way  we   see   the   cities,   not   simply   a   criticism  of  

loose  regulations  and  urban  environmental  policies.    

 

The   ubiquitous   problems   in   Seoul   caused   by   urban   design   seem   to   be   rooted   in   this  

totalising,   mechanical   perspective   of   city.     In   those   approaches,   urban   planners   have  

used  Kevin  Lynch’s  urban  engineering  theory,  which  suggests  five  factors  -­‐  path,  edges,  

districts,  nodes,   and   landmarks   -­‐   to  view  and  organize   cities.    This  method   focuses  on  

physical   shape   of   city,   and   it   is,   therefore,   easy   to   ignore   the   historical,   sociological,  

cultural.     Consequently,   what   is   needed   is   the   street-­‐level   perspective,   achieved   by  

“walking  the  city”  and  reconnecting  with  people’s  life.    It  is  the  view  of  the  ‘voyeur’  that  

‘psychogeography   tries   to   overturn,   restoring   the   primacy   of   the   street’   (Coverley,  

2010:105).    As  a  visual  communicator  I  have  chosen  the  psychogeographical  method  in  

this  research  to  examine  possible  ways  of  communicating  the  hidden  stories  of  the  city.  

London  has  a   long  history  of   tradition  of  psychogeography   in   literature.  This  makes   it  

the  best  place  to  investigate  ways  in  which  stories  made  through  rework  the  city.  

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Experiment  1  

 

The  concept  of  urban  wanderer,  whatever  name  it  goes  under:  the  stroller,  the  flâneur,  

the  stalker  is  seen  as   ‘contrary  to  the  spirit  of  the  modern  city’  (Coverley,  2010:12).     It  

allows  one  to  challenge  the  authoritative  representation  of  the  city  by  escaping  the  dull  

routes   and   exploring   those   forgotten   areas   often   unnoticed   by   the   city’s   inhabitants.    

With  the  aim  of  visualizing  the  hidden  structure  of  urban  everyday   life  that  affects  the  

relationship   between   a   city   and   its   inhabitants,   I   undertook   series   of   experimental  

wandering  journeys  to  places  I  had  never  been  in  London  to  discover  the  factors  which  

influence  the  emotions  of  the  urban  wanderer  who  visits  certain  places.        

 

Throughout  the  journeys,  I  established  four  subjective  factors  which  certain  places  offer  

emotional   stability   to   a   wanderer.     The   first   factor   is   the   experience   which   happens  

while  we  navigate  to  the  place:    how  difficult  it  was  to  find;  how  long  it  took  to  get  there;  

whether   the   place   really   existed;   what   the   public   transport   was   like.     These   are   the  

influences  on  the  first  factor.    Although  they  do  not  have  an  overwhelming  effect  on  the  

stability  of   the  whole   journey,   if  you  waste   too  much  energy   in   this  stage,   it   is  hard   to  

recover.

 

The  second  factor  is  local  atmosphere,  what  impresses  the  wanderer  who  arrives  in  the  

area   after   getting   off   public   transport   and   sees   the   village   or   district   from   a   distance:    

what  the  weather  like;  how  many  people  were  around;  whether  it  was  a  residential  or  

commercial   area;   what   kinds   of   trees   there   are.   These   are   the   elements   that   will  

determine  the  impression.    With  these  first  impressions,  we  intuitively  feel  whether  the  

place  welcomes  us  or  makes  us  feel  like  strangers.  

 

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The  third  factor  is  what  the  place  itself  offers  inside.    It  may  be  unexpectedly  interesting  

or   the  service   they  provide  may  be  worse   than  expected.    The  way   it   communicate   its  

contents  i.e.   interior  design,  ambience,  written  instructions,   location  of  shelves  and  the  

entrance  door  determines  the  experience,  which  may  be  reflected  in    the  contents  itself,  

or  the  reverse  may  be  true.    The  real  story  starts  here.  

 

The   fourth   factor   is   the   people   you   meet   there.     The   final   judgement   of   subjective  

emotional  stability  of  the  place  is  made  through  the  fourth  factor,  which  may  dominate  

the   other   factors.     Very   often,   this   last   factor   totally   transforms   the   impression   of   the  

entire   journey.   Conversations   with   the   staff,   eye   contact   with   others,   insight   into  

different   attitudes   to   life   from   observing   other   people   further   colour   the   place   by  

engagement  with  these  small  subtle  considerations.  

 

   Figure  3.    

I  drew  a  diagram  (see  fig.3)  with  four  axis  to  illustrate  the  four  factors.    Each  factor  has  

scores  from  zero  to  five.    Zero  is  located  in  the  center  of  the  square  and  point  five  is  on  

the  end  of  each  corner.    For  instance,  as  you  see  above,  the  route  is  quite  easy;  therefore,  

it  is  awarded  point  four.    The  local  atmosphere  is  point  two  because  of  the  industrialized  

area.   On   the   other   hand,   the   contents   inside   the   store   were   fascinating   so   that   is  

awarded  point  five.  The  staff  was  polite  and  friendly,  so  they  are  awarded  five  as  well.    

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When  we   connect   those   four   corners,   the   figure   becomes   an   asymmetrical   trapezoid.    

The   higher   the   score   for   each   factor   the   place,   the   larger   the   figure   that   is   created  

becomes.    If  the  average  score  of  each  factor  is  low  then  the  entire  figure  is  smaller,  and  

the   greater   the   imbalance   between   each   band   score,   the  more   asymmetrical   the   final  

shape  is.    This  figure  illustrates  the  intuitive  visualization  of  the  stability  of  a  place.  

 

For   instance,   this   journey  (see   fig.4)   is  remembered  as  unstable  as  a  whole.    From  the  

beginning,  getting  there  was  quite  easy  because  a  local  suggested  the  route;  therefore,  I  

gave  score  five  to  the  first   factor.    The  local  atmosphere  was  unfamiliar  because  of  the  

container   boxes   and   industrial   area.   However,   the   local   says   the   place   has   been  

refurbished  by  a  number  of  artists,  so  I  gave  it  score  three,  in  the  middle.        However,  on  

meeting   the   person   inside   the   place,   the   score   rapidly   decreases.     The   sudden   visit  

without   an   appointment   embarrassed   both   visitor   and   the   person   inside,   so   I   gave  

negative  one  point  to  the  third  factor.    Because  I  could  not  enter  the  place  because  of  the  

tension  between  two  strangers,  I  gave  the  contents  inside,  factor  four,  one  point.    Overall,  

the   figure   created   looks   almost   like   a   triangle,   which   represents   the   acute   angled  

unstable  emotion.  

 Figure  4.  

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Experiment  2  

 

Through   the   first   experimentation,   I   found   that   impression   data   on   subjective   factors  

can  be  gathered  and  used  to  represent  the  intuitive  shape.    In  the  extension  of  the  first  

experimentation,   I   wanted   to   ‘discover’   the   more   subtle   factors   that   influence   the  

impression  a  wanderer  can  encounter.    The  dictionary  definition  of  the  word  ‘discover’  

gives  its  Latin  origins.  The  original  Latin  literally  means  ‘dis-­‐cover:  to  remove  the  cover’.    

To   translate   this   definition   into   visually   imaginable   language:   dig   deeply   below   the  

surface   inside   and   dig   something   out;   open   the   lid   and   look   inside;   find   out   what   is  

unrevealed;   come   across   the   unknown   fact.     The   word   ‘discover’   contains   implicitly  

within  it  the  concept  of  layers.  If  you  discover  something  once,  that  means  there  exists  

another   layer   underneath   your   perception.   The   plane   of   flat   land,   once   perceived   as  

whole,   suddenly   turns  out   to  be  only   a   surface.    That   finding   leads  us   to   a  new  world  

beyond  the  cover  which  holds  unlimited  imaginative  scope.  

 

A  map  is  a  flat  land  before  we  start  our  journey.    The  first  map,  common  in  appearance,  

which  is  given  to  everyone  and  the  second  map  that  is  personalized  with  experience  and  

the  story  of  an  individual  are  not  on  the  same  layer.    As  we  discussed  before,  this  map  of  

the  God’s   eye   view  perspective   is   official   as   is   the   sum  of   stories  which  makes  up   the  

walker’s  map.    They  are  displayed  in  different  layers.    However,  they  overlap  each  other.  

Like  geological   strata,   various  experiences   can  be   stacked  on  one  place.    One  who  has  

many   discovered   layers   possesses   a   richer   map.     The   city   he   possesses   is   filled   with  

abundant   stories.     These   strata   of   experiences   sometimes  melt   into   our  memory   like  

caramel.   Sometimes   they   remain   as   a   vivid   recollection   and   create   a   white  marbling.  

Sometimes  they  are  never  discovered  and  stay  on  the  cover  surface  like  clichéd  souvenir  

postcards.  What  makes  these  differences?  

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Ruskin  (1903  cited   in  De  Botton,  2002)  suggests  drawing  and   ‘word-­‐painting’   to  make  

our  memory  of  place  firmer.    The  drawing  he  recommends  is  not  professional,  well-­‐done  

drawing.    It  is  part  of  the  intentional  effort  that  tries  to  figure  out  factors  and  understand  

the  structure  of  objects.  Observing  the  object  thoroughly,  we  can  understand  the  reason  

why  we  are  attracted  to  certain  landscapes  or  buildings  and  get  the  explanation  of  our  

taste.  

 

Ruskin   also   suggests   writing   to   confirm   our   impression   of   beauty.   We   all   can   write  

‘word-­‐paintings’  even   if  we  are  not  poets.    De  Botton  (2002)  confirms  his  belief   in   the  

effectiveness  of  Ruskin’s  word-­‐painting  method:  ‘It  derived  from  his  method  of  not  only  

describing  what   places   looked   like   (‘the   grass  was   green,   the   earth   grey-­‐brown’),   but  

also   of   analyzing   their   effect   on   us   in   psychological   language   (‘the   grass   seemed  

expansive,   the   earth   timid’)’   (De   Botton,   2002:234).   If   we   ask   ourselves   about   the  

impression  a  certain  space  gives  us  and  carefully  analyze  what  we  see  and  feel,  the  term  

word-­‐paint   that  Ruskin  uses   is   a   subjective  description  of   a  place   and   is,   therefore   an  

appropriate   method   for   psychogeographers   to   use   to   grasp   the   subtle   impression   of  

urban  experiences.    In  many  cases,  places  are  remembered  through  impressions,  not  for  

aesthetic   reasons  but   for  psychological   reasons.    Word-­‐painting   is   especially  powerful  

because  it  is  a  psychological  way  of  analyzing  the  influence  of  places  on  our  lives.  

 

In   the   second   visualising   experiment,   I   have   tried   to   communicate   the   subtle   and  

emotional   aspects   of   the   urban   experience   in   an   objective  way.     I   use   the  word-­‐paint  

descriptions  of  the  journey  in  combination  with  the  measuring  system  I  used  in  the  first  

experiment.     My   target   audience   is   urban   planning   decision   makers   in   Seoul,   whose  

frame   for   viewing   the   city   is   rather   mechanical.   The   communication   method   is   from  

their   point   of   view.     Accordingly,   I   have   used   the   format   of   a   bank   account   statement  

(see  fig.5)  because  it   is  the  most  accurate  and  objective  form  of  communication  media.    

  11  

However,  audiences  find  bank  statements  dry  and  boring  making  them  an  inappropriate  

container  for  the  personal  stories  of  urban  wanderers.    The  objective  way  of  visualising  

makes  the  creative  process  and  the  urban  wandering  behaviour  itself  mundane  and  dull.    

This   is   the   same   contradiction   the   Situationist   International   recognized   after   their  

programmatic  and  objective  method  of  recording  failed  signifying  the  loss  of  the  playful  

journey   itself.    As  Coverley   (2010)  points  out,   the  objectivity  of   the  method  can  never  

exactly  capture  the  lives  of  individuals  and  in  the  process  and  individuality  is  inevitably  

flattened  out  and  reduced  to  points  on  a  chart.      

 Figure  5.  

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Experiment  3  

 

Throughout  the  second  experimentation,  I  wanted  to  focus  more  on  the  playful  journey  

itself.    The  story,  necessarily,  begins  with  footsteps.    Both  the  everyday  journeys  I  take  

routinely  and  those  taken  to  somewhere  I  have  never  been  were  to  be  included  in  this  

experiment  and  it  was  crucial  to  let  myself  feel  the  joy  of  wandering  constantly.      

 

Stories   are   becoming   private   and   sink   into   the   secluded   places   in  

neighborhoods,   families,  or   individuals,  while   the  rumors  propagated  by   the  

media   cover   everything   and,   gathered   under   the   figure   of   the   City,   the  

masterwork  of  an  anonymous   law,   the  substitute   for  all  proper  names,   they  

wipe   out   or   combat   any   superstitions   guilty   of   still   resisting   the   figure.   (De  

Certeau,  1988:108)  

 

According  to  Coverley  (2002),   today,   the  contemporary  roles  of  psychogeography  turn  

to   writers,   poets   and   filmmakers   in   London   who   have   kept   alive   the   memory   of   the  

neglected  aspects  of  the  city  (Coverley,  2002).    Currently,  in  Seoul,  there  are  several  new  

literary  works  and  also  new  films  set   in  Seoul  The  novel  Seoul,  one  day  became  a  novel  

and  the  film  The  Romantic  Movement,  Seoul  are  good  examples.    Of  these  recent  accounts,  

the   literary   critic   Oh   makes   the   criticism   that   ‘the   cities   represented   in   those   recent  

literatures  after  millennium  remain  still   similar  with   the  previous  approaches   that   the  

city  is  just  the  background  and  not  the  main  hero  or  heroin  of  the  story  itself.’  (Oh  to  Lee,  

2010)     The   city   is   a   container   of   contemporary   human   psychological   issues.     Urban  

literatures  should  be  steeped  in  the  local  historical  characteristics  of  a  specific  area  and  

resonate  with  its  inhabitants.  

 

 

  13  

With  the  aim  of  awaking  the  necessity  of  storytelling,  I  set  up  the  third  experiment  to  be  

a  narrative  photograph  book.    The  series  of  photographs  starts  from  private  space  and  

moves   to   a   public   street   seen   from   an   urban   wanderer’s   point   of   view.     The   book  

rediscovers  the  wonder  of  the  streets  we  see  everyday  by  observing  the  walking  process  

itself.    While  taking  an  aimless  journey,  I  let  myself  encounter  unexpected  combinations  

of  original  images  through  the  windows  of  private  spaces  window  picture  looking  inside  

from  the  outside.  (see  fig.6)      

 

 Figure  6.    

 

When  viewing   the  neighbour’s  window   looking   from   the  outside   to   the   inside,   I   could  

read  the  different  expressions  of  each  alley,  doorstep  and  garden  fence.    Capturing  the  

overlooked  pleasures  of  urban  life  was  the  original  intention  of  the  Surrealist’s  approach  

to  psychogeography.    By  focusing  on  “walking  the  city”  itself,  I  wanted  to  examine  how  

the  stories  I  gain  from  experiences  rework  the  space.  

  14  

 

Throughout   the   experiment,   I   could   see   the   contradiction   between   focusing   too  

intensely  on  persuading  readers  politically  and  falling  into  the  trap  of  banalisation  that  

psychogeography  tried  to  overcome  as  Coverley  points  out:    

 

Psychogeography   seeks   to   overcome   the   processes   of   ‘banalisation’   by  

which   the   everyday   experience   of   our   surroundings   becomes   one   of   drab  

monotony.  The  psychogeographers  all  share  a  perception  of  the  city  as  a  site  

of  mystery  and  seek  to  reveal  the  true  nature  that  lies  beneath  the  flux  of  the  

everyday.  (Coverley,  2010:13)  

 

Within   the   visionary   tradition   of   London   literature,   Sinclair,   in   his   work,   avoids   the  

political   and   theoretical   engagement   of   the   Situationists.   Still,   Sinclair’s   works   are  

coloured   by   an   impassioned   critique   of   Thatcherite   redevelopment   of   the   city:   ‘His  

walks   in   and   around   the   city   providing   both   documentary   evidence   of   political  

mismanagement   and   revealing   those   paranoid   conspiracies  which   have   since   become  

the  hallmark  of  modern  psychogeography’  (Coverley,  2010:26).  To  be  successful  in  the  

approaches   Coverley   mentions,   the   narrative   experiment   I   have   devised   still   needs  

further   development.   What   is   required   is   an   examination   of   how   to   engage   with   the  

contents  as  evidence  of  current  urban  design  as  well  as  revealing  the  political  message.    

   

 

 

 

 

 

 

 

  15  

 

Conclusion  

This   research   paper   discusses   the   problems   of   the   urban   environment   of   Seoul   in  

relation   to   the   way   of   viewing   the   city   as   a   physical   mechanism.     To   change   the  

perspectives   of   urban   design   decision  makers   and   inhabitants,   the  way   of   the  walker  

recording   and   collecting   the   impression   of   everyday   routes   in   streets   should   be  

introduced.     To   reveal   the   hidden   stories   beneath   the   physical   space,   I   applied  

psychogeography   to   three   visual   experimentations.     London   has   a   long   historical  

background   of   the   visionary   tradition   of   psychogeography   in   literature   even   before  

Debord   (1955)  pinned  down   the  definition  of   the   term   in  1955.    Therefore,  London   is  

the   perfect   place   to   conduct   an   experiment   in   how   the   stories   made   using  

psychogeography   work   in   the   city.     Moreover,   in   the   absence   of   real   contemporary  

urban  literature  in  Seoul,  for  me  producing  works  in  narrative  storytelling  as  a  graphic  

communicator  is  crucial.  The  stories  created  by  artists  relate  historically  and  locally  to  a  

specific  place.  Stories  that  resonate  with  the  public  can  be  overlaid  and  reworked  in  the  

city.    Until  now,  as  very  few  psychogeographical  studies  have  been  undertaken  in  Korea.  

Learning  from  the  London  tradition  with  regard  to  experimenting  in  the  space  of  Seoul  

is   truly   required.     What   still   needs   to   be   studied   and   developed   are   ways   to   create  

stories  via  visual  language  with  in  depth  research  into  the  historical  and  cultural  context  

of  a  specific  area  of  the  city.  

 

 

 

 

 

 

 

  16  

 

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  17  

 

List  of  Figures  

Figure  1  and  2.  Before  and  after  of  Pimat-­‐gol  redevelopment  (Sung,  2008)  

Figure  3.  Subjective  measuring  diagram  

Figure  4.  Visualising  the  journey  near  Manor  house  station  

Figure  5.  Urban  experience  account  statement  

Figure  6.  Photographic  narrative  journey  near  Flodden  Rd.