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• W259165208 abstract "On Places Donlyn Lyndon Criticism can be seen branching into several divergent paths with differing intentions and differing comparative methods. Broadly speaking, criticism may be directed toward evaluating and making us understand better a specific work, or it may be directed toward making clear the conditions under which that work was produced—presum­ ably with an eye to reformulating those conditions. Critics may intend to change the conditions of pro­ duction through alterations in the discipline if they are internal to the field or through setting the stage for political action if they are external. The agenda for change may lie in the forefront of their considerations or it may emerge from close atten­ tion to the particularities and cir­ cumstances of the work. Even given this array of choices, there remain two phases to the question of how places might be subject to critical thought: How might the actuality of specific places remain focused in our attention, and what should be the limits of the domain to which we pay attention? More abruptly stated, how can we stay close to the object, and which object(s)? These issues remain urgent and problematic because they are questions of focus. H o w do we use our analytic abilities to attend to the way in which places have real consequence in people's lives? It is, of course, precisely the purpose of critical thought to take us beyond the object itself. The purpose of criticism is to reveal things in a new way. But which new ways? There are evidently in any work a great many choices to be made, each of which could be subject to consid­ eration, each of which could give rise to alternatives, each of which could with some ingenuity be a subject for speculation. The critic's task is to select those aspects of whatever is under consideration that are most fruitful to examine. In criticism it is convenient to look for networks of decisions, to find pat­ terns of similarity in the character­ istics of the work that may lead from one aspect to the next so that whatever is taken for specific ex­ amination can be understood to have repercussions in the consid­ eration of the whole; the good critic is an experienced sampler. Criti­ cism thrives on precedent, on types and established patterns that allow one to say O h , it's one of those and to proceed to a comparison of the fine points of similarity or dissimilarity that ensue. Places sometimes come in types too, as any geographer can tell you or as is evidenced in the commonality of courthouse town or M a i n Street or waterfront or even street corner. But what matters to its inhabitants are its particulars, the things that make it their own, not someone else's. The criticism of places must then go beyond type and address the diversity, inten­ tions, and responses. What do we mean by places? We mean both something obvious and something more esoteric. Places are where we put things, where we go, where events become actual— where they take place. Places are space that can be imag­ ined, that can be known. They are the opposite of the limitless void into which we were once meant to imagine our buildings. Public places are loaded with social significance because they are lodged in the imaginations of many people and structure their interaction. Places result from the intersection of the enduring facts of the world: sun, wind, earth, water, vegetation, and our propensity to define and con­ struct in order to control the im­ pact of the surroundings on our lives. Places are space to which people can give the dimensions of their imaginations and which they can hold in their minds. They are, at base, segments of memory, albeit extended ones. While it is essential to the notion of place that it have imaginable limits, they are often distinct and over­ lapping, defined more by location in an overall ordering scheme or by proximity to a recognizable feature than by edges. Public places are usually more like targets than rooms; hence the special potency of those few urban places that are roomlike: the great squares and piazze of Europe, or Central Park if you w i l l . Here, though, we are talking specifically about the com­ plex, overlapping places of the American city—places that result from several works juxtaposed— from the initiatives of many, per­ haps extended over periods of time, and with widely varying means and intentions. The problem posed is how to make criticism come to grips with the reality of the places where we ac­ tually live, how to assess the actions Places / Volume 4, Number 1" @default.
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• W259165208 date "1987-04-01" @default.
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• W259165208 title "On Places [Criticism of Place: A Symposium] - eScholarship" @default.
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