Understanding Comics

1) Time can be depicted in many different ways. Such that it can be stretched out to depict one scene or shortened to depict one scene. In Scott McCloud's Understanding Comics, he clearly shows this in his study of different comic sequencing on page 74, where certain scenes transition with certain techniques. Such that there can be transitioning between one aspect to another aspect or from one action to the next action. This can be seen in his comparison from Japanese comic to western comics and the fad of including motion in the late 1800s. Architecture is similar in that spaces can transition from one to the other to show time lapse. An example would be the strategic placement of a program to  place the living room in the front of the structure, which transitions into the kitchen, then into the bathroom, and finally to the bedroom. This would show the time lapse of one coming home from work, to prepare for dinner, to prepare for bed, and finally to sleep. This is very similar to action to action, where the sequences are of different parts of one person moving through the space. This also indicates the transition of time from afternoon to night. Another similarity architecture has to Understanding Comics is from aspect to aspect. In which, architecture depicts this through a series of sections in diagrammatic form. To understand structures, silhouettes of people are placed inside section cuts. A whole range of sections can show what people do in a series of drawing. This can be an indicator of time as sections can be depicted at night or in the daytime. Showing different actions from "aspect to aspect" we have a clear understanding of what is going on throughout the space according to the time of the day.

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3) In the city of Chloe, characters in this story exist all together, yet they do not interact together. Instead of speaking to one another, they pass by each other on the streets and imagine the thousands of possibilities between them. Each character has their own interesting stories based on their appearance, yet no one interacts with each other. Even when they occasionally find themselves standing next to one another. I think the concept of this story is interesting, in the sense that the people living in one space can be much more than they are, yet they do not. It can be reflected into my design, such that the twin brothers living in one space can be much closer, yet because of their clashing personality they do not make much of an effort. They live in the same structure, but rarely interact besides when they pass by one another when transitioning throughout the space. Because of the dynamics in their personality, they live on without knowing the complete story of one another.

(Passing glances, A nod, A smile. Just a gesture of acknowledgement. = Only when they see each other)

4) Possible Encounters

    Passing By

   Upstairs/Downstairs

   Neighbors/We Just Share the Rent

In which, the occupation of space can be taken by both parties, they do not/rarely co inhabit one space together. Due to whatever reason, this chance of encounter leading to something more is quickly dismissed because they do not take the time to get to know each other better.

Since space can be felt, the only moments where the two brothers meet are when they transition through each other's space. These spaces vary in size, but progressively get bigger as they reach the top. The moments of transition happen on the stairs in the interior of the structure. The space is cramped to allow the two brothers to form interaction. The upper levels receive more freedom and air space to allow for the extroverted activities, while the lower floor allows for introverted activities.

Style Wars

I think its interesting how the directors used film techniques to show both sides to Style Wars in the sense that the film depicts both stories. With two opposing groups, we are able to clearly see the situation, as well as the pros and cons of the issue. The documentary alternates between the stories of the graffiti artists and the politicians and parents of the artists, which in way really does prove the whole situation to be a "style" war. In one situation, one of the teenage boys was explaining why it was important to tag his name "all city," while his mother was sitting right next to him. The mother obviously had a disapproving opinion. Where her thoughts agreed more with the mayor of the city, in which, graffiti, then takes on an entirely different meaning. Graffiti, to the artists is their own art form, similar to calligraphy. Names, styles, and drawings become one artists' culture, but to the authorities, it is vandalism. Graffiti with negative connotations, imply a life of crime. It degrades the living system of one place and creates a negative atmosphere for the city. The colliding views show an interesting interception between the black and whites, and forms a gray scale, in which the viewer becomes the judge in seeing what is art and what is vandalism.

Using various film techniques, we as viewers, are able to take a step into the time period where graffiti art was at its peak. I think one of the more interesting techniques was the director's choice in filming the daily lives' of the graffiti artists. In which, Tony Silver, shows the culture at that time for graffiti artists. Hip-hop dance was a big part of the culture, as well as rapping. Depicting scenes where the artists gather around  to have dance offs and rapping sessions show the culture and the standards of living for this group of people. Graffiti, then takes on a new meaning. It becomes more than an art form. Graffiti becomes their culture, their way of living. This opens up new questions on the "blacks and whites" of graffiti. There is truth in what the mayor says, but there is also truth to what the artists say. Graffiti cannot be simplified to vandalism, but it also cannot be fully considered an art form. It is not in form itself, but in the act, that causes indifference in society.

Source: Photo

Final Essay

           During the 19th century, the Western Expansion preoccupied the minds' of most Americans. After the acquisition of the Louisiana territory, American nationalism was at its peak as all of America scrambled throughout to turn the belief in Manifest Destiny into a dream come true. This directly resulted in the Transcontinental Railroad, which became the perfect solution to join the West coast and the East coast. During one of the greatest movements in history, Robert Grainier, a character in Denis Johnson's novella, lives on the Western frontier while experiencing this historical movement in terms of De Certeau's Spatial Stories. Michel De Certeau's Spatial Stories reinforce the definitions of words we may use every day, but may not understand the true meaning behind. There's a fine line between certain words that calls for the need to specifically differentiate one from the other. A clear example would be the words "space" and place" or "frontier" and "threshold." Although both sets of words have similar context, both are of different origin and define completely different subjects. Even words that must exist with its counterparts like how each "frontier" consists of a "bridge" is clearly explained in Spatial Stories. De Certeau's Spatial Stories act as a guiding vessel in the employment of the overarching concepts of the spatial stories explored in Train Dreams. In addition, the questions of what is a space, place, threshold, bridge, and frontier can be proven by Johnson's text, which allows for a better overall understanding of what Train Dreams and Spatial Stories is about.

De Certeau defines space as an area where the existence is created by the activity that defines it so. The definition of place is the establishment of space. Therein place only exist after space is created and recreated over again with the same purpose in mind. Such that Grainier’s home would represent something that is a “place,” while “space” would be that of the entire town of Moyea Valley. In that the daily activities of the townspeople would create what a “town” is. Space can contain places, but in theory, it space is the creation of place. An example would be how Grainier can live in Moyea Valley, but the Valley itself can change due to external causes. Although the valley can change, the location in which Grainier chooses to live will still be his home. An example in the novella would be when Grainier’s cabin burned down, even though his cabin is gone, the concept of home is not. As long as Grainier rebuilds this cabin on the same plot of land and resumes doing “home” activities, it will still remain as a definition of home. This applies to space, too. Grainier had participated in various locations throughout the novella to aid the development of the railroads. Each location he had worked on would be considered as one of De Certeau’s space. This is due to the fact that each space is occupied for different reasons. His occupation as a logger, for example, led him to occupy a forest. In that moment the forest is still a forest, but once it is cleared, it becomes another space. Because they are occupied only for the moment, they are interchangeable. Thereby abiding De Certeau’s law of space.

If there exist a difference in space and place, then there is also a difference in frontier. In which frontier is usually confused as a simple border separating two different geographical regions of space.  Through short stories, Johnson confirms De Certeau’s explanation that a true frontier is not just a border that separates, but also a bridge between two unique spaces. Thus one space can and only will exist when both frontiers and bridges exist. This can be proven throughout Train Dreams in the series of events in Grainier’s life. The definition of what is human only exists because there is also a definition of what is not. In reference to Train Dreams, there exists normal people like Robert Grainier or Kootenai Bob and the rest of the townspeople and there exists animals, like the wolves and the wolf-girl. Through this intangible frontier, there is a bridge. Because of the separation, there is also a link in between the gap. Without humans, animals would not be considered animals. Without animals, there would not be humans. Therein it is necessary for a bridging between both characterizations for the formation of a frontier. Another example would be the existence of the individual. There can only be a “self” if the opposite of “self” (everyone else) exists. Grainier becomes a unique character, not because of his past sufferings, but because of his unique mentality. In an abstract sense, Grainier has his own “self” and becomes this individual because no one else has the same outlook as him. An example would be Claire Thompson. Both she and Grainier were widowed within a few years of marriage. Although both experienced similar tragedies, both deal with their situation uniquely. In which Grainier wallows in his past and Thompson moves on towards the future. Each character deals with similar experiences in their own unique way. The bridge between these two characters would be the death of their significant other. The frontier that exists would be their mentality in dealing with the actual situation. Even in the internal battles within the self, Johnson clearly outlines that there is the existence of a frontier, as well as a bridging between the gaps of the two differences. Grainier battles with the differences of reality and fantasy repeatedly, throughout the mini novel. In which, he has recurring encounters with the ghosts of his past. In the near real life encounter with the ghost of his wife, he reinvents her last moments in the cabin long after she dies, yet he is able to picture the entirety of the event in a realistic manner. In Grainier’s fantasy, he cannot separate the difference between reality and fantasy. This illustrates the underlying message that Johnson tries to recreate, in that there is a fine line that a frontier creates. This frontier divides, but presents the opportunity for a bridge to form between two different concepts with similar ideas. Similarly so, Grainier also stumbles across another man who may knowingly or unknowingly battle with reality and fantasy. Mr. Peterson had reassured Grainier that his gunshot wound was the result of his dog shooting him in self-defense. In reality, the occurrence of such event is not very likely. Even Grainier who can be a bit of a simpleton, questioned Peterson’s story. The question of what is real and fake can only exist because of the “frontier” that exist. This frontier can only exist when the bridge that defines what is related also exists. In this situation the relationship between truth and lies establish this bridge. Truth is related to lies in that they both are the counter definitions of each other. Therefore, reality is directly proportional to truth, just as lies are to fantasy.

          In terms of frontiers, bridges, spaces and places, the subject matter of threshold comes into question. Thresholds can be defined in many different ways. The definition that usually comes to mind is any place or point of entering or beginning. In De Certeau’s definition, a true threshold is any occupiable transitional space. This can be applied to Train Dreams. Tangible thresholds would be the land reserved for the Western Expansion. Because of the concept of Manifest Destiny, each space was kept in mind as a space for transition. In that a place that was once a forest may be cleared to form a space, in which the loggers will occupy. After all the trees are chopped down, the space can perhaps become a place for railroads to pass through. Because of this establishment, it can also lead to the development of a town due to the settlers that may build their homes in the surrounding area. The possibilities are endless. The infinite potential illustrates how malleable this space is. Therein creating the idea of a threshold, since the space is so flexible, it is always in transition.

Through each story a little more of the Valley of Moyea is uncovered. We begin to see the Spatial Stories that De Certeau speaks about through Train Dreams. In which, we are then able to understand the distinct definitions to the words with similar context, such as the words, space and place. Not only the similarities of words are explored, but also words that represent opposites like frontier and bridges are brought into the light. The creation of such distinct spaces, places, frontiers, and bridges, allow for the existence of thresholds. Using Train Dreams and the stories told within the novella, we were able to differentiate and categorize each story to assemble a distinct definition with clarity.

Source: Photo

Andreas Zittel & Train Dreams

Andrea Zittel & Focault

          In the sense that Andrea Zittel's work has its constraints, yet frees itself in the very same gesture, "A-Z Six Month Personal Uniform," Focault had mentioned in, "Docile Bodies," that to form a productive society, one has to conform to the society's constraints. This allows for the creation of masses. In such concoction, there is always one that breaks free of society's constraints and becomes the "outsider." In Zittel's creations, she distinctly clashes against the everyday norms of what the general society would expect. This is shown through"A-Z Six Month Personal Uniform," as well as her other works. There is a recurring theme in that each work takes the "what it seems" and turns it into something different, yet somewhat from the same origins. Another example of such work would be in, "A-Z Carpet Furniture: Cabin." In this "Cabin," Zittel uses the forms of furniture prints and places it on top of carpets. The different colors would represent a different object. Just as a normal house would have different objects like a couch, a bed, the dresser, a rug, etc. Zittel invents this method to represent objects even though they do not exist in that space. The creation of this piece further supports the  idea that of the individual created from the masses. Although objects in rooms are using dictated by the actual volume of space that they take up, ZIttel does not conform to this idea. Her process in this piece reminds one that not all that exist has to exist within the boundary of another. By creating forms that hint at the existence instead of actually depicting the existence, she shows us the potential space the objects would have taken up versus how free a space is with constraints, but without.

          Things like this draw the question in whether constraints are actually created from the mind. That society may not be the culprit to the actual creation of the masses, but the mind. We each follow the discourse of society because we are born into it. As we grow up, our actions are set "autonomous" and we automatically follow these rules. One space is navigated by the actual program because what is there is there. These rules are set and because space itself is not interchangeable, we do not have the ability to do otherwise. In Zittel's work we learn about this otherwise. That although space is set, one does not need to follow these constraints. We have the ability to navigate however we want. Drawing back to "A-Z Six Month Personal Uniform," Zittel uses this same concept to create a non conforming uniform. Creating her own set of rules, she became an individual. Although, we all follow certain constraints in society, we all have an ability to change certain things. I find Zittel interesting in that there is ironic humor in her work. Although each piece abides by societal rules, it also has its own rebellious nature. They conform in a non conforming way. Individuals are created from the mass and this is exemplified by Zittel as a person and through her work.

Train Dreams

Dennis Johnson's train dream has a relationship to space in that the character Robert has different experiences with each place he visits in the course of his journey. In which, some, have a dream like quality to it. The difference between spatial dreams and spatial reality. Overall the story deals with a lot of the reality living in the early 20th century. Even in the beginning of the novella where Granier is seen dangling a Chinese man off of a bridge, after his guilty conscience sets in, he begins to imagine this man everywhere. It sets the "feel" of the novella throughout the rest of the story. As we follow Granier's journey, we sit in his mind and see all that he sees. Even the dreams that he has of his wife and child. In these surreal dreams, there's an interesting dynamic in how space is explored. An example would be the dream in which his wife is padding into the depths of the water with a box of chocolate, a bible, and their child. She runs into the river as the fire devours their home. As she runs away from the fire, she ties the child to her hip and throws away the bible. Seemingly so, throwing away the bible resulted in her death as she fell into rocks, resulting in a broken back.  This surreal scene draws a distinction in between reality and dream in that it could have very well happened. As she died, Johnson describes how the house slowly burned starting from the magazine. As the fire became overwhelming the glass shattered. The consequences of the fire seem very real. The effect of this experience is overwhelming because it takes on such realistic characteristics, even though he was not there to see it. Yet compared to the China man that he swore, had put a curse on him, the reality of the situation borderlines fantastical when he swore he saw him in the distance when he was walking home.

Note:

               Interesting relationship between Train Dreams the title and literal train dreams. Dream dictionary says that dreams associated with trains usually relate to the feeling that someone else is controlling your life. This can be related to Robert's life in that he lives a full life, with each even taking him to another event.