McDonough's writing discusses a new perspective on the manner in which the city of Paris is mapped in Debord's The Naked City . McDonough's main argument here is that space is a social construct and the reproduction and illustration of space is subjective. The map became "illegible" as it arranged the city not just by physical space but also by "unity of atmosphere" and social contexts that contain the space. This piece falls into the category of a postmodern piece as it lacks emotion or expression. Due to the fact that the painting represents an image that no human can physically see themselves, the work lacks individualization and a subject. Additionally, there is no legend or scale to the sections in this work, further skewing and altering the actual representation of the city. As Reclus says "(social geography) was not an immutable thing. Is it made, it is remade every day; at each instance it is modified by man's actions" (66). Although, the work does include some arrows directing traffic flow from one section to the other, there really does not exist a subject. The piece challenges current means of thinking and allows for the people of the time to feel as though they are able to associate and categorize themselves as they desire. The omissions in the piece further prove that the situationists are not conerned with standard factual physical representation.
Questions:
1) What exactly is the concept of Derive?
2)What are the "exits and defeneses" (65) of each "unity of atmosphere" in the work?
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