Beyond Walking: British Psychogeography and the Art of Everyday Life, 1960s to Present

“心理地理学”目前是一个有争议的术语。第四电台称之为“酷”，激进的书店专门为它提供了整个部分，它在大学模块以及流行和学术文章中占据了突出地位。尽管蒂娜·理查森（Tina Richardson）极有可能暗示威尔·赛尔夫（Will Self）和伊恩·辛克莱（Iain Sinclair）的老男孩俱乐部漫无边际的当代创意非小说类作品，但她认为“心理地理学没有规则”，“任何人都可以做到”（理查森，2015：1）。相比之下，最初由国际情境主义者（SI）在20世纪50年代末巴黎定义为“对地理环境的具体影响的研究（无论是否有意识地组织）对个人情绪和行为的影响。（Debord，2006年：39），心理地理学开始作为一个高度具体的前卫美学和政治实践-今天，它已经被后现代文化所挪用和平庸化。我的项目既追溯了这一过程，又恢复了一个更激进的传统，这个传统在英国心理地理学中一直存在到21世纪，超越了辛克莱-自我的“行走-写作”范式。学者们联合起来挑战英国心理地理学目前的止痛药地位，但很少有研究将其作为20世纪60年代后丰富的“晚期现代主义文学项目”（库珀，2017：9），植根于对“日常生活”的紧急审问（谢林汉姆，2006：158-174）。使用文学-历史主义方法论-并借鉴批判理论的空间，光谱，神经学，魔法在过去半个世纪的转折-我重新注意到心理地理学的根本潜力，解释和改变日常生活的结构。在情境主义兴趣复苏和心理地理艺术进入新的公共空间的时刻，这一点很重要。我的项目将展示广泛的前卫/主流心理地理学影响的政治美学生产在晚c20/21日英国在日常更广泛的话语，超越了有限的注意力，创造性的非小说开始我的调查。

Psychogeography' is currently a contentious term. Radio 4 calls it 'cool', radical bookshops devote it whole sections, it features prominently in university modules as well as popular and scholarly articles. Although overwhelmingly likely to connote Will Self and Iain Sinclair's old-boy's-club rambling contemporary creative non-fiction, Tina Richardson argues 'there are no rules to doing psychogeography' and 'anyone can do it' (Richardson, 2015: 1). By contrast, originally defined by the Situationist International (SI) in late-1950s Paris as 'the study of the specific effects of the geographical environment (whether consciously organised or not) on the emotions and behaviour of individuals' (Debord, 2006: 39), psychogeography began as a highly specific avant-garde aesthetic and political practice - today, it has been appropriated and banalised by postmodern culture. My project both traces this process and recovers a more radical tradition persisting in British psychogeography into the c21st, beyond the Sinclair-Self 'walking-writing' paradigm. Disciplines unite to challenge British psychogeography's presently-anodyne status, but few studies examine its post-1960s manifestations as a rich 'late modernist literary project' (Cooper, 2017: 9) rooted in urgent interrogation of 'everyday life' (Sheringham, 2006: 158-174). Using literary-historicist methodologies - and drawing on critical theory's spatial, spectral, neurological, magical turns over the last half-century - I reattend to psychogeography's radical potential to interpret and transform structures of everyday life. This is important at a moment when Situationist interest resurges and psychogeographical arts enter new public spaces. My project will demonstrate wide-ranging avant-garde/mainstream psychogeographically-influenced political aesthetic production in late-c20th/21st Britain within wider discourse on the everyday, beyond the limited attention to creative non-fiction initiating my inquiry.