Nanyang Subway Map

And he was puzzled by my question about where he would Nanyang Subway Map choose to live since such a choice was never likely to be open to him. When Nanyang Subway Map we reached the suburbs of Yinchuan he dropped me at a bus stop; he was embarrassed by my thanks and because other people stood by listening he whispered his goodbyes and left hurriedly. By the time I reached the hotel it was 9.30 p.m. and it was certain that I’d missed dinner.

Place and Imaginative Topography

Driving, particularly on familiar routes or when commuting on motorways (or freeways), can create a state of revelry and distraction – a drifting off into other imaginative worlds (Morse 1998: 104). By drawing on Auge’s idea of non-place, Morse identifies how freeways are disengaged physically and conceptually from their surroundings: Freeways are displaced in that they do not lie earthbound and contiguous to their surroundings so much as they float above or below the horizon’ (Morse 1998: 104). Freeways become conducive to a dream-like state, enhanced by the perception of the road as a means of escape and liberation (1998: 105). Morse argues that driving in the nonspace of the freeway creates a type of fiction effect’ through a cognitive state of distraction. The banal and repetitive nature of the surrounding landscape in freeway driving creates a type of zombie’ effect. The sonic uniformity of these spaces acts in a similar way. The consistency of engine speed, the speed of other vehicles travelling in the same direction and the smooth asphalt all create monotony.

This is not at the expense of being alert to the here-and-now’ space of the freeway through traffic, speed and movement. This engagement with presence is particularly enacted, for Morse, through the visuality enabled by the windscreen, windows and mirrors of the car. These mediate the relationship between the interior and exterior spaces of the car (1998: 111-12). To which we can now also add GPS screens. Morse draws attention to the complex range of relationships that occur between separation and connection facilitated through these screens. These objects establish separation because they provide concrete distinctions between inside and outside. They also create connections. The glass and digital screens engage the spaces outside of the car (Morse 1998: 111). This is not a simple relationship between interior and exterior or distraction and engagement. Both the real’ space of the here-and-now and the dream-like space of distraction are encountered through the interior/ exterior relationship and facilitated through screens:

A sheet of glass alone is enough to provide a degree of disengagement from the world beyond the pane. Add to this the play of light which appears to be part of the mise-en-scene . the world beyond the glass glows more brightly than the darker passages and seats we occupy.

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