Warped space: art, architecture, and anxiety in modern culture by Anthony Vidler. Agoraphobia: psychopathologies of urban space. The thesis put forward by Anthony Vidler in Warped Space maintains that the modern city, populated by disturbing architectural forms, had. by Anthony Vidler. Flashback to , sixteen-bits still the rule the video game world and a little network called FOX is broadcasting a new sketch-based comedy.

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Book Review by Jesse LeCavalier. Flashback tosixteen-bits still the rule the video game world and a little network called FOX is broadcasting a new sketch-based comedy called “the Edge” peppered by the heroic visages of Julie Brown, Wayne Knight and Jennifer Anniston.

It opens with a shot a quiet suburban bungalow from which comes a scream followed by a woman running out side. Once outside, she pauses, looks around nervously, screams and runs back inside, pauses, screams, runs back outside, pauses, screams Ostensibly, this book develops these warpex through a series exegeses and case studies which range from limpid to opaque and from inventive to pat.

Each warpeed lends anthkny to be taken individually but the real strength of the work lies in its overall engagement with recent developments with the hopes of reaching new understandings and definitions of “space. Warped Space is presented in loosely tethered halves, both of which register more as collections of self-sufficient essays related only by a shared set of interests and sympathies.

The first charts the development of the urban and spatial pathologies in question and the second turns this “warped” lens to case studies of contemporary art and architecture.

Nonetheless, the premise is engaging enough to maintain some integrity even without a strong thesis. Vidler draws from an array authors in the first eight chapters: In the second spxce, the architectural case studies are what you might expect in a book called Warped Space: The predictability of these examples is disappointing and saps some potency from the book.


Still, Vidler manages to keep a critical eye and, by drawing from his well of vidled and critical background, to offer some inventive readings of the projects at hand.

loud paper ยท Warped Space: Architecture and Anxiety in Modern Culture

Consider the chapter titled “Skin and Bones: To counter the more conventional reading, Vidler offers the following: On the other hand, the five artists in question prove less predictable as case studies though all deal with architecture in some way and their examinations are rewarding; unfortunately it is also the only instance, in a book that spends a good deal of time addressing gendered space, that female voices are actually heard.

In spite of the lively writing and stimulating content, the work runs into trouble in a few spots. The range of sources in Warped Space strengthens it but also stretches the continuity nearly to failure.

Certainly the idea that modern psychoanalytic and spatial theory offers new and relevant insight to the architectural and artistic trajectories of the last ten years is intriguing but raises questions about the scope of the inquiry. Much of his analysis has to do with urban space of today but it seems problematic to rely on these texts from an era in which urban space or lack of it was seen as a primarily malignant entity and cities seen as badbad things that wadped you sick.

Warped Space: Art, Architecture, and Anxiety in Modern Culture

Vidler, canny as ever, addresses this leap by writing: He is arguing for typically more continuity over gidler last century a very “art- history” kind of thing to do and as readers, we pretty much have to shut up and go along with the conceit if we want to get much out of spzce work. He further defends the comparison with some astute observations that support the claims of a continuum longer than perhaps usually accepted: Perspective is still the rule in virtual reality environments; objects spafe still conceived and represented within all the three-dimensional conventions of eighteenth- and nineteenth-century practice.

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However, the real value of the book comes when it is seen as a complete entity whose overall goal, it seems, is to redefine “space” or to at least identify new spatial paradigms in ways that are relevant, applicable and understandable given our current conditions.

Most of the chapters raise new questions about how space, architectural, social, and cultural, is both constructed and defined. Some do it more explicitly than others and some more successfully than others, but all seek to spsce and reexamine our assumptions about space. In other words, Warped Space is not simply a catalogue of recent architectural developments but the beginnings of a search for their meanings.

Warped Space: Art, Architecture, and Anxiety in Modern Culture – Anthony Vidler – Google Books

Space in this ascription, is not empty, but full of disturbing objects and forms, among which the forms of architecture and the city take their place. Along these lines, it s no surprise that Vidler spends some time talking about the O.

Simpson trial and, in reference to the glove, how space cannot be trusted anymore: The fluidity of space was pitched against the stability of place, the object consistently displaced by its spatial field.