Becoming-Critically Spatial: Björk

Becoming-Critically Spatial: Björk

Nathan Cartwright 4,967 words University College London (UCL) Dept. The Bartlett School of Architecture BSc Architecture

Becoming-Critically Spatial: Björk

4,967 words

Cover photograph. Filming Jóga in Iceland. (August 1997).

ACKNOWLEDGEMENTS Many thanks to my supervisor, Tom Keeley, for his support and guidance throughout this dissertation. Additionally, I am deeply thankful to Design Unit 8 for providing me with the opportunity to experience the “emotional landscapes” of Iceland during our field trip in January 2024.

Figure 1: Icelandic Landscape Drone Footage by Author (2024).

CONTENTS

Acknowledgements

iv

Preface

2

Lyrics

3

Introduction

6

Chapter One: Björk and Critical Spatial Practice

8

Chapter Two: Becoming-Iceland

14

Chapter Three: Haecceitas

28

Conclusion: Becoming-Critically Spatial

34

Bibliography

38

Illustration Credits

42

PREFACE

Figure 2: Björk’s Hunter Single Release Compact Disc Sleeve Cover (1998).

This preface directs our critical attention to the work presented in Björk’s 1997 album Homogenic. An album with an influence from the artists home country of Iceland apparent from the opening track, “Hunter,” to the closing piece, “Pluto.” By briefly considering these bracketing tracks, one can begin to unravel the threads of Deleuzian ‘becominganimal’ that seem intricately intertwined throughout Björk’s musical expression. In the opening track music video, “Hunter”, where Björk seamlessly oscillates between human and animal states, a dynamic relationship with animal is crafted—a portrayal that resonates with the Deleuzian concept of ‘becoming’. Expressive lyrics such as “hunting, I am a hunter, I’m going hunting,” set the thematic stage for her Icelandic becoming throughout the album. A ‘becoming’ that arguably peaks in the album’s second track and popular single release, “Joga.”

The culminating track, “Pluto,” explicitly articulates Björk’s desire to transcend human anatomy, stating, “I just want to explode. Explode this body, off me.” This transformative aspiration marks a departure from the earlier tracks, emphasizing Björk’s direct yearning to shed her human form and assimilate with the Icelandic landscape.

Simultaneously, we recognize Homogenic not solely as a collection of standalone songs but as a culturally significant ‘patriotic’ opus that has been an influential wave within popular culture. Björk’s bold experimentations with sound, coupled with her thematic exploration of Icelandic identity and landscape, has propelled Homogenic beyond musical boundaries, establishing the album as a pioneering force that continues to shape contemporary artistic discourse.

Through this exploration, this dissertation aims to move beyond inference and directly deduce the spatiality intertwined within Björk’s artistic expression, recognizing its significance not only in the realm of music but also in broader creative discourse and cultural impact.

2

Jóga, 5:05

3

Hunter, 4:15

Pluto, 3:19

Ooh If travel is searching And home has been found I’m not stopping I’m going hunting I’m the hunter I’ll bring back the goods But I don’t know when I thought I could organize freedom How Scandinavian of me En-cha-le-li En-cha-le You sussed it out, didn’t you?

Yeah!

You could smell it So you left me on my own To complete the mission Now I’m leaving it all behind I’m going hunting I’m the hunter, I’m the hunter I’m going hunting I’m the hunter, I’m the hunter I’m the hunter, I’m the hunter I’m the hunter Ooh

Excuse me But I just have to Explode Explode this body Off me Woo-ooh Woo-ooh Woo-ooh Woo-ooh Woo-ooh Woo-ooh I’ll be brand new Brand new tomorrow A little bit tired But brand new Oh Oh Oh Ah, ah, ah, ah Ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Ah, ah, ah, ah, ah Woa

All these accidents that happen Follow the dot Coincidence makes sense Only with you You don’t have to speak I feel Emotional landscapes They puzzle me The riddle gets solved And you push me up to This state of emergency How beautiful to be State of emergency Is where I want to be All that no one sees You see what’s inside of me Every nerve that hurts You heal deep inside of me, ooh You don’t have to speak I feel Emotional landscapes They puzzle me Confuse Can the riddle get solved?

And you push me up to

The riddle gets solved And you push me up to This state of emergency How beautiful to be State of emergency Is where I want to be State of emergency How beautiful to be State of emergency State of (Allt sem hann sér) (Allt sem hann sér) (Allt sem hann sér) State of (Allt sem hann sér) (Allt sem hann sér) How beautiful (Allt sem hann sér) (Allt sem hann sér) Emergency (Allt sem hann sér) Is where I want to be State of emergency How beautiful to be State of emergency Is where I want to be State of emergency

This state of emergency How beautiful to be State of emergency Is where I want to be State of emergency How beautiful to be Emotional landscapes They puzzle me

4

INTRODUCTION

Figure 3: Review of Homogenic in Raygun Pop-Cultural Magazine (1997).

This dissertation explores artistic practice in the realm of contemporary popular culture through the lens of Jane Rendell’s Critical Spatial Practice alongside the philosophical theories of ‘becoming’ and ‘haecceity’ put forward by Gilles Deleuze and Félix Guattari. This investigation aims to unveil the intricate relationship between art, spatial theory, and cultural phenomena.

We will consider the contemporary Icelandic artist Björk, a multi-discipline practitioner renowned for pushing artistic boundaries, ‘effortlessly blending avant-garde and pop elements, making music that is as innovative as it is emotional.’1 The analysis considers some of her audio and visual work, which exists predominantly within the realm of popular culture, as being derived from a spatial practice, often more associated with the discipline of architecture. This dissertation seeks to establish a methodology for considering essences of spatiality within pop-cultural artworks, such as those produced by Björk, who, through her practice, continuously engages with the elusive and emotional aspects of environments, often transcending traditional boundaries within site-specific spatial expression.

This dissertation delves into how Björk’s artistry may exemplify affective spatial practice within contemporary popular culture, and by synthesizing diverse perspectives, aims to deepen an understanding of the interconnectedness of art, space, and contemporary popular culture.

1

All Music, 2024.

6

CHAPTER ONE: BJÖRK AND CRITICAL SPATIAL PRACTICE

Jane Rendell’s concept of Critical Spatial Practice, as elucidated in Art and Architecture: A Place Between (2006), serves as a foundational framework for understanding how practitioners may transcend traditional artistic boundaries and begin to show fragments of spatiality within their work. Rendell’s exploration within Art and Architecture emphasizes the active physical engagement artists may have with their selected sites or environments, focusing on the creatives’ ability to capture and respond to specific moments within specific locations, consequently instilling them with spatial significance. Rendell describes this practice as one that ‘transgresses the limits of art and architecture and engages with both the social and the aesthetic, the public and the private. This term draws attention not only to the importance of the critical, but also to the spatial, indicating the interest in exploring the specifically spatial aspects of interdisciplinary processes or practices that operate between art and architecture.’2 Such practice is conceptualized

by Rendell as Critical Spatial Practice.

This dissertation posits that the application of Critical Spatial Practice within practices linked to contemporary popular culture may provide a nuanced reflection on humanity’s relationship with space by surpassing traditional boundaries linked to specific artistic practices. This broader approach involves considering not only physical dimensions but also social, cultural, and political contexts. By critically examining space, artists may prompt profound contemplation on Figure 4: Homogenic Album Cover Photoshoot with Björk, by Nick Knight (1997).

2

Rendell, 2017, p.20.

8

Chapter One

Björk and Critical Spatial Practice

identity, environment, and the human condition, leading to a richer understanding of our interconnectedness with, and within, the global landscape.

‘Björk is a groundbreaking pioneer in connecting many different creative practices in and around her work’3 and is arguably an exemplar of affective interdisciplinary artwork that crosses boundaries between visceral audio and visual performance. ‘An era-defining artist, who has been a catalyst and inspiration for wider culture,’4 with a body of work that intricately weaves her personal experiences and reflections on space and geographies into her multifaceted artistic creations.

As a world-renowned, ‘unsurprisingly original and highly accomplished auteur and solo [Icelandic] artist,’5 Björk, has established herself as a prominent figure, adopting ‘parallel practices and strategies to exemplify and contextualize herself in a productive dialogue with popular culture and the visual arts of her generation.’6 By seamlessly blending the disciplines of music and visual art, Björk offers a unique perspective through which one can explore the intersection of artistic expression and spatial theory. ‘Her intentional positioning within popular culture, rather than solely within the confines of art music,’7 distinguishes her as a creative practitioner with an ability to foster cross-cultural and interdisciplinary dialogue, challenge conventional creative boundaries, and contribute to the wider cultural landscape.

This arguably provides fertile ground for examining spatial concepts and their manifestations within her artistic expressions.

Central to Björk’s exploration of space and landscape is her 1997 album Homogenic, where she undertook the task of ‘seeking for something that’s Icelandic,’8 creating what she has referred to as an ‘Icelandic album.’9 While the album intimately reflected her profound connection to her homeland’s geography, the second track from the album and subsequent single release “Jóga” and its accompanying music video, directed by Michel Gondry, stand out as a series of poignant manifestations of Björk’s deeply personal geographic engagement with the landscape of her homeland.

It seems evident that Rendell’s Critical Spatial Practice as outlined above, may offer valuable insights to Björk’s spatial practice, yet this dissertation contests that Rendell’s theory, and its embeddedness within art and architectural discourse, if considered in isolation, may fall short of capturing the dynamic and performative nature of some interdisciplinary works, particularly those deeply immersed in popular culture.

Within critical spatial discourse, Robert Smithson may be seen as a prominent figure, engaging with the tangible facets of a location, exemplified by his renowned work, ‘Spiral Jetty’ (1970). Smithson’s physical approach to his practice lends itself to examination through the lens of Critical Spatial Practice, where the work can be ‘variously described as contextual practice, site-specific art, and public art.’10 In contrast to Smithson, contemporary popular practitioners like Björk may be characterized by their explorations of the intangible qualities of a site, particularly focusing on the emotional and temporal experiences.

This ‘site-specific,’ yet non-physical disposition finds resonance in the theoretical framework proposed by French philosopher Gilles Deleuze and French psychoanalyst Félix Guattari, whose contemporary concepts often align and are well articulated through what could be called the affective essence of spatial practice. Despite the absence of a direct physical intervention at the site of interest, Björk’s artistic output remains deeply rooted within the site’s essence, offering an alternative experiential perspective to audiences.

The theoretical distinction between Rendell and Deleuze and Guattari, alongside the necessity for more affective methodologies when discussing pop-cultural multi-disciplinary artworks such as “Jóga,” highlights the need to adopt a more fluid theoretical framework.

Such fluidity can arguably be found in the concepts of ‘becoming’ and ‘haecceity’, elucidated in Deleuze and Guattari’s text, A Thousand Plateaus: Capitalism and Schizophrenia (1988). Through these concepts, ‘Deleuze and Guattari subtract (or abstract) the artistic intention. The modulations are much more important than the decisions, since they reveal the forces that populate the world, that affect us, that make us

Biesenbach, 2015, p.2.

Ibid.

5 Ibid.

6 Biesenbach, 2015, p.4 7 Takenhana, 2010, p.1.

8 Mackay, 2017, p.12.

9 “XFM,” 2024.

3 4

9

10

Rendell 2017, p.12.

10

Chapter One

become.’11 Suggesting that their theoretical approach prioritizes the dynamic forces inherent in artistic expression over that of predetermined intentions or decisions by the practitioner. This perspective underscores the importance of understanding how art of all kinds interacts with and shapes the world around us, emphasizing the affective dimensions that influence our perceptions and experiences. In the following three chapters, this dissertation will discuss these dynamic Deleuzian concepts in relation to how Björk’s practice may serve as a paradigm of affective spatial practice, continuously engaging with and reshaping their situated environments, dynamically transcending traditional boundaries within artistic expression.

11

11

Sutton and Martin-Jones, 2008, p.75.

CHAPTER TWO: BECOMING-ICELAND

BECOMING — ANIMAL Gilles Deleuze and Félix Guattari offer valuable insights into the affective nature of cultural phenomena. Their collaborative works challenge traditional thinking and provide a lens through which to examine contemporary Critical Spatial Practice as outlined by Rendell.

While their theories may often intersect with Rendell’s framework, they also stand alone to offer an interpretive approach to understanding space and subjectivity. Over the course of the next two chapters, this dissertation introduces their ideas and their relevance in contemporary cultural discourse, focusing specifically on their explorations of spatiality in the concepts of ‘becoming’ and ‘haecceity’. These concepts provide a unique perspective on the fluid and dynamic nature of spatial practice, laying the groundwork for the examination of Björk’s artistic expression in “Jóga,” through the respected theoretical frameworks.

Deleuze and Guattari’s concept of ‘becoming-animal’, as outlined in A Thousand Plateaus, serves as an analytical tool for the exploration of Björk’s music and video for her 1997 track “Jóga” from the album Homogenic, and subsequently her creative practice and its’ inherent spatial dimensions.

Through this lens, this dissertation aims to distill the transformative and spatial qualities present in Björk’s “Jóga,” exploring how her creative expressions transcend traditional pop-musical boundaries and establish a dynamic spatial relationship with her surroundings. This chapter offers an examination of ‘becoming-animal’ to illuminate the Figure 5: Björk with Michel Gondry during the filming of the ‘Jóga’ Music Video (August 1997).

14

Chapter Two

Becoming-Iceland

spatial dimensions of Björk’s creative practice, providing insights into the distinctive individuality and spatial intricacies that characterize her creative landscape.

In the chapter titled, “Becoming-Intense, Becoming-Animal, Becoming-Imperceptible,” in A Thousand Plateaus, the concept of ‘becoming’ emerges as a profound lens for comprehending the relationships between human beings and dimensional space. As articulated by Deleuze and Guattari:

beyond viewing the animal as a resource to be pursued and killed rationally, with ‘Ahab ultimately less interested in hunting ordinary whales and more driven in finding one whale (Moby Dick),’13 he starts ‘becoming’ less human. He starts ‘becoming-animal’. Captain Ahab is distancing himself from typical human behavior, and in doing so has deterritorialized* himself from his instincts and his role (as man and as whale hunter/fisherman). Harris also notes the whale’s uniqueness for Captain Ahab, marked by scars from prior encounters with hunters and its insightful understanding of human hunting methods, further complicates the relationship. As the clash between the captain and the whale unfolds, they navigate a grey area where traditional distinctions between humans and animals dissolve, giving rise to unconventional behavior. This phenomenon, as described by Deleuze and Guattari and echoed by Harris, is explicitly articulated as Captain Ahab’s yearning to ‘become-whale.’14 The concept of Captain Ahab’s ‘becoming-whale’ in Moby Dick should be seen here metaphorically within the philosophical framework set out by Deleuze and Guattari. It does not denote a literal transformation but rather encapsulates an abstract, symbolic fusion of Ahab’s psyche with the essence of the whale, Moby Dick. This metaphorical ‘becoming’ reflects an existential blurring of boundaries between human agency and the natural world, signifying Captain Ahab’s intense psychological identification with the object of his obsessive pursuit.

This analogy employed by Deleuze and Guattari offers an interesting critical lens for examining Björk’s connection with her homeland, Iceland in the album Homogenic, particularly the music and video for “Jóga.” The artist’s portrayal of the Icelandic landscape as new, dynamic, breathing, and alive prompts us to recognize that the environments we inhabit are vibrant and interconnected with us, albeit operating at a different tempo. A notable assertion by Dave Harris warns against the human tendency to be fixated on ‘human time’ as it may hinder us from discerning the varying speeds at which these landscapes exist alongside us as ‘we tend to fit our own human timeframe around things and forget all the other processes that have been slowly maturing

A body is not defined by the form that determines it, nor as a determinate substance or subject, nor by the organs it possesses or the functions it fulfills. On the plane of consistency, a body is defined only by a longitude and latitude.12 Our bodies, they argue, are not defined by static forms or fixed essences but are dynamic entities shaped by material elements, empirical encounters, and affective capacities within specific historical and contemporary spatial contexts.

‘Becoming-animal’ thus offers itself as a conceptual tool to reveal the transformative and spatial qualities of Björk’s practice and artworks. By delving into the concept of ‘becoming,’ one can discern how Björk’s creative expressions extend beyond conventional spatial confines, fostering a dynamic relationship with her surroundings. This initial exploration sets the stage for a parallel exploration of ‘haecceity’ within “Jóga,” to unravel the unique individuality and spatial intricacies embedded in Björk’s practice.

Deleuze and Guattari employ Herman Melville’s timeless novel Moby Dick, published in 1851, to elucidate the concept of ‘becominganimal’. Specifically, they focus on the novel’s conclusion, where the inevitable clash between Captain Ahab and Moby Dick occurs, using it as an analogy to illustrate Captain Ahab’s ‘becoming-whale’.

In his analysis of A Thousand Plateaus, Dave Harris effectively summarizes Captain Ahab’s ultimate transformation into ‘becomingwhale’. Ahab’s shift in perspective towards the whale is notable, moving

12

15

Deleuze and Guattari, 1988, p.304.

Harris, 2017, 09:40.

Harris, 2017, 12:56. * Deterritorialization refers to the dismantling of traditional boundaries and structures, often leading to the dissolution of fixed identities.

13 14

16

Chapter Two

Becoming-Iceland

in the background.’15 This is a key acknowledgement when interpreting “Jóga” and Iceland’s landscape in relation to the theme of ‘becominganimal’. We cannot assume either landscape or our eco-system as static, as doing so may obscure the intricate web of relationships between human activities and the broader ecosystem in which they exist. Any such myopic perspective not only impedes our recognition of the liveliness of landscapes but also obscures the reciprocal influence between human actions and the environment’s ongoing evolution. In essence, fixation on any such anthropocentric chronology might hinder our comprehension of the dynamic interplay between our actions and the ever-changing, breathing landscape. In other words, it might obscure our sense of ‘becoming’.

BECOMING — ICELAND

The concept of ‘becoming-Iceland’ is arguably most effectively depicted in Björk’s music video for “Jóga,” where the visuals and lyrics together strongly imply a transformative connection reminiscent of ‘becominganimal’. This audio-visual experience becomes crucial in illustrating Björk’s bond with Iceland, vividly portraying the landscape as dynamic and alive. This visual and auditory experience allows us to develop the notion that, much like Captain Ahab’s search for, and ultimately his ‘becoming-Moby Dick’, Björk is intricately woven into the dynamic living entity that is Iceland, representing her geographically intimate relationship with it in such detail, that she begins to become-Iceland through “Jóga.” A ‘personification of nature by ‘becoming’ nature [...] rather than [by] observing it.’16 A personification that is evident in other facets of her practice and celebrity image, further underscoring Björk’s immersive approach to her environment, where she actively embodies and engages with the natural world rather than merely observing it.

15 16

17

Figure 6: Thumbnail from the Music Video “Jóga,” Directed by Michel Gondry (August 1997).

Harris, 2016, 21:58.

Takenhana, 2023, p.2.

18

Chapter Two

Figure 7: Still from the Opening Scene of the “Jóga” Music Video, Featuring Björk on a Black Sand Beach Wearing a White Jacket.

Figure 8: Still from the Closing Scene of the “Jóga” Music Video, Showing CGI-Björk Revealing Landscape Within Her Chest.

Becoming-Iceland

In the opening scene of the music video for “Jóga,” directed

by French filmmaker Michel Gondry, Björk is to be seen lying down on an assumingly black sand beach in Iceland, wearing a contrasting white jacket. Here, it seems, Björk has assumed her role as a person in the environment and has a distinct relationship with the landscape she narrates and inhabits. A relationship that is intimate, almost maternal, as she lies in repose on the earth’s surface, emphasizing her interconnectedness with the ground beneath her, with Iceland.

The concluding scene of the music video, however, introduces a cinematic twist, as Björk reappears as a CGI version of herself. Opening her jacket, the camera zooms into her chest, revealing the ‘Icelandic Island of Elliðaey from the very heart of Björk.’17 This symbolic merging of artist and landscape, which is nestled within Björk’s chest, goes beyond juxtaposition, it synthesizes Björk with the Icelandic topography, forging a visual harmony that, while appearing slightly paradoxical, embodies her human essence ‘becoming-Iceland’. The Icelandic Island within CGI-Björk transcends geographical representation, by presumably symbolizing her heart. As the video concludes, Björk’s figure is absent, and the camera pans directly within her at a 1:1 scale, suggesting that we may no longer be inside Björk; but rather, she has seamlessly transformed into the very landscape of Iceland. These internal and external representations, which depict Icelandic landscape, underscore the intimate connection between Björk’s interior world and the external environment. The dichotomy created by the internal/external scale of Björk and the seemingly infinite potential to zoom in to both Björk and the island within her, invites us to consider our own scale and time, and the potential of our own relationship to an emotional landscape inside of us. ‘To the great virgin natural expanses of Iceland - these “emotional landscapes” evoked by the lyrics and illustrated by the video clip directed by Michel Gondry, which represent Icelandic nature as an emanation from Björk’s own interior.’18 The music video for “Jóga” also intricately plays with the concept of durational time as a compelling signifier for the overarching theme of Björk ‘becoming-Iceland’. Dave Harris’s caution against fixating on

17 18

19

Lassauzet, 2023, p.17.

Ibid.

20

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Becoming-Iceland

‘human time’ is pivotal when interpreting the music video and Iceland’s landscape in the context of ‘becoming-animal,’ with the synthesis of durational times ‘becoming’ apparent through the interplay between CGI-rendered tectonic movements and Björk’s vocal elongation, revealing a reciprocal relationship between the artist and the Icelandic landscape, that infers a geographical Deleuzian ‘becoming’.

At 01:13 minutes into the music video, we see the cinematic representation of landscape jolt and glitch, to reveal diverging tectonic plates. The accelerated nature of the CGI tectonic movements presents a rhythm that is augmented, to represent the geological forces that shape Iceland. In parallel to this, Björk’s vocals seem to stretch in time, while also shifting and disrupting expectation for the listener. This is symbolic of the slow process of change inherent within the volcanic landscape and could be reminiscent of the violent, abrupt changes along volatile areas such as tectonic plates. The duration of the song serves as a temporal canvas to witness Björk’s ‘becoming’, with her elongated vocals providing a sonic counterpart to the evolving landscape. By playing with rhythm and syncopation, she emulates the landscape’s complexity, mirroring the disturbance or interruption of the regular flow of rhythm, like that of geological shifts occurring beneath the Icelandic surface. The juxtaposition of extended vocal notes with the speeding up of tectonic movements demystifies two distinct speeds to infer the concept of ‘becoming’. As the artist and the landscape ‘extract particles [from each other] establishing the relations of movement and rest, speeds and slownesses that are closest to what one is becoming, and through which one becomes. This is the sense in which becoming is the process of desire.’19 The desire to be at one with her motherland of Iceland.

The synthesis of sounds and visuals arguably accentuates these themes of ‘becoming’. Similar to the analogy of Captain Ahab and Moby Dick, both the body and the landscape undergo deterritorialization.

Björk’s voice deterritorializes from popular music norms, experiencing time as longing, while the landscape deterritorializes from static to dynamic, seen as an animated entity seen in the film. A dynamic

interplay that argues for Björk’s ‘becoming’ of the landscape and ultimately; ‘becoming-Iceland’.

This synthesis of visual and auditory metaphor for the reciprocal relationship between artist and landscape, suggests a shared vitality and rhythm across distinct temporal categories. A temporal synthesis within Björk’s “Jóga” music video, manifested through the duration of the song, CGI tectonic movements, and vocal elongation, to form a multi-layered argument for the idea of the artist ‘becoming-Iceland’ in a complex interweaving of geological and human temporalities, enriching the narrative of Björk’s transformative relationship with the Icelandic landscape.

In essence, the temporal dimension within the song and its accompanying music video becomes a poignant manifestation of Björk’s profound yearning to ‘become-Iceland’. As the creative practitioner, Björk, in collaboration with Michel Gondry, intentionally manipulates time, accelerating the pace of the landscape to accentuate its inherent dynamism in a reflection of Björk’s artistic agency in shaping the visual narrative, aligning the pace of the landscape with the thematic essence of ‘becoming-Iceland’.

19

21

Deleuze and Guattari, 1988, p.318.

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Becoming-Iceland

HENRI BERGSON Henri Bergson’s philosophical contributions wield significant influence, particularly evident in the work of Deleuze and Guattari in A Thousand Plateaus. Drawing upon Bergson’s ideas of duration, multiplicity, and ‘becoming’, they establish a foundation for exploring dynamic transformations and rejecting fixed identities. This Bergsonian influence seems particularly relevant when analyzing Björk’s “Jóga” and her spatial practice, especially in the philosophical underpinnings of ‘becominganimal’ and its relevance to music, sound, and the passage of time.

Bergson’s perspective on music extends beyond a mere sequence of sounds, emphasizing the cumulative effect of each note in forming a distinctive qualitative experience. This concept of qualitative changes in duration, or ‘becoming’, serves as a fundamental lens for exploring the spatial attributes of the musical composition within “Jóga.”

Bergson says that at one level, music offers a sequence of sounds - but they add to each other, cumulatively. Early sounds qualify or add quality to later ones in various ways. The overall affect is different from each of the sequential sounds on its own. That indicates the qualitative changes at the heart of duration or becoming.20 Figure 9: Still from the “Jóga” Music Video Depicting CGI-Tectonic Displacement Scene.

In the context of “Jóga,” Bergson’s ideas facilitate a spatial inquiry into the emotional attributes of the song and their sequential impact on the listener. Viewing the assembly of a song and its music video as spatial processes reveals the significance of considering “Jóga” within its spatial dimension, as elucidated by Harris’ quote above.

Furthermore, Björk’s ‘becoming-Iceland’ within “Jóga” resonates with Bergson’s concept of qualitative changes. The sequential progression from portraying the real Björk lying on black sand to the final scene featuring CGI Björk opening her chest and revealing her ‘becoming’ exemplifies the continuous state of ‘becoming’ inherent in the song.

20

23

Harris, 2017, 04:56.

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Becoming-Iceland

Every element, from uttered words to observed silences, contributes to Björk’s transformative journey, illustrating the importance of Bergson’s concepts when considering her ongoing process of ‘becoming’.

The ‘becoming-animal’ framework offers valuable insights into Björk’s spatial practice. By exploring how ‘becoming-animal’ – or this this case, ‘becoming-Iceland’ - uniquely relates to spatial dynamics, we can question its potential to challenge established spatial boundaries and redefine the artist’s relationship with the surrounding space. The analysis in this dissertation aims to provide a nuanced understanding of the interplay between ‘becoming-animal’ and spatial dimensions, shedding light on its potential to reshape traditional paradigms within artistic spatial practices.

Moreover, ‘becoming-animal’ holds significant implications for Björk’s work and its reception by the audience, echoing Barthes’s notion of the ‘Death of the Author’. As Roland Barthes stated, ‘The birth of the reader must be at the cost of the death of the Author.’21 Just as ‘becominganimal’ prompts individuals to transcend traditional categories and embrace fluidity, Björk’s music invites listeners to actively participate in the co-creation of the song’s meaning. This participatory aspect of Björk’s work transforms the spatial dynamics, deterritorializing her from traditional authorship roles and positioning herself and her compositions within a critically spatial context. By disrupting conventional spatial norms and inviting audience interpretation, Björk’s music becomes inherently spatial, blurring the boundaries between artist, audience, and space, thereby highlighting the transformative power of this form of pop-cultural expression in reshaping spatial dimensions.

Björk’s completion of a series of ‘becomings’, as portrayed in the music video for “Jóga,” further solidifies her ownership of these transformative experiences. By seamlessly integrating herself with the Icelandic landscape, Björk asserts her agency in shaping the spatial narrative of her artistic practice. Through her immersive engagement with the environment, Björk not only ‘becomes-Iceland’ but also invites her audience to participate in this spatial journey, forging new connections between artist, audience, and space in her ‘constant state

of morphing, [as] a process of her embodying an object,’22 blurring the boundaries between herself and the environment, enhancing the transformative power of her artistic expression.

In summary, the evidenced ‘becomings’ explored within Björk’s creative landscape not only illuminate the transformative and spatial dimensions of her work but also allude to a beyond-critically spatial role within contemporary popular culture. Through a Deleuzian analysis, we have embarked on a journey that brings us closer to articulating the potential for a considered practice of spatiality in popular culture. By recognizing Björk as a figure embodying and practicing contemporary Critical Spatial Practice, we may take a significant step forward in understanding the dynamic interplay between art, space, and culture.

21

25

Barthes, 1977, p.142-148.

22

Biesenbach, 2013, p.8.

26

CHAPTER THREE: HAECCEITAS

Chorus Emotional landscapes They puzzle me The riddle gets solved And you push me up to

Deleuze and Guattari’s concept of ‘haecceity’ could be argued to challenge conventional ontological categories. Instead of defining entities by their form, substance, or function, the theory Deleuze and Guattari employ reframes our perspective.

A body is not defined by the form that determines it, nor as a determinate substance or subject, nor by the organs it possesses or the functions it fulfills. On the plane of consistency, a body is defined only by a longitude and latitude.23

This state of emergency How beautiful to be State of emergency Is where I want to be

An entity is uniquely characterized by its relationship to space — cited above as being defined by only its’ metaphorical longitude and latitude — a term used by Deleuze and Guattari to visualize the interconnectedness entities have with their spatial coordinates and temporal attributes.

This perspective, derived from A Thousand Plateaus, emphasizes the centrality of experience. In this framework, haecceitas* arise through the examination of the interplay between entities and their spatial contexts, defined as ‘the milieu that provides the capacity to both affect and be affected. Notably, experience is depicted as a-subjective and impersonal. It is not an individual property; instead, subjects are constituted in relations within experience itself, specifically through individuation via haecceity.’24 A perspective that urges us to move Figure 10: Chorus of “Jóga”.

Deleuze and Guattari, 1988, p.304.

Semetsky, 2006, p.91. * Haecceitas: plural of ‘haecceity,’ indicating the collection of individual ‘thisnesses’ or unique essences of entities.

23 24

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Haecceitas

beyond rigid categorizations or striations and recognize entities as dynamic nodes within a complex network of relations.

This conceptual framework challenges us to break away from isolated perspectives and view entities as continuously evolving and embedded in their unique spatial and experiential contexts. It highlights the dynamic and reciprocal nature of the relationships between these entities and their environments. By recognizing their interconnectedness of entities with their spatial coordinates and temporal attributes, ‘haecceity’ serves as a valuable analytical tool, encouraging a deeper investigation into the distinct narratives and identities inscribed by the spatial coordinates of each entity, revealing the intricate fabric of experience.

The exploration of ‘haecceity’ presents an intriguing framework for dissecting the complex interplay of sonic and spatial dynamics within Björk’s “Jóga,” intricately intertwined with the Icelandic landscape. By leveraging the spatial essence inherent in haecceitias within the song’s narrative, we may unearth its latent spatial dimensions, often concealed to cursory observers. This conceptual framework encapsulates a distinctive identity characterized by spatial coordinates, temporal intricacies, and nonsubjectified affects, offering an analytical lens for navigating the depths of spatial and relational phenomena within Björk’s work.

Using ‘haecceity’ to expand upon our preceding analysis, “Jóga” emerges as a composition comprised of individualized assemblages, wherein a myriad of elements converge in a perpetual state of ‘becoming’.

These dynamic transformations not only shape human experience but also enrich the song’s spatial tapestry, accentuating its empirical, affective, and dynamically unfolding sequence of events. Throughout any exploration of “Jóga,” the concept of ‘haecceity’ permeates the intricate word patterns, deliberate spatial arrangement of language, and strategic placement of silence, yielding profound insights into its spatial essence. Furthermore, our examination of ‘becoming’, as illuminated

by Bergson, underscores the cumulative resonance of sound within the song, further enriching its spatial dimensions.

As articulated by Dave Harris, ‘The point of the haecceity arises

from the need to account for the sum of elements and forces involved in any object or event; we should not be reducing these down to a few supposedly major ones in the name of science.’25 In essence, the application of ‘haecceity’ to “Jóga” offers a nuanced understanding of the song’s spatial and temporal dimensions, enriching our appreciation of Björk’s artistic practice and highlighting the intricate interplay between sound, space, and experience.

LY R I C S Exploring Björk’s chorus, notably the line “State of emergency is where I want to be,” mirrors Deleuze and Guattari’s analogy in A Thousand Plateaus: ‘Five o’clock is this animal!’26 Both emphasize the profound bond between specific moments and places, showcasing a unique temporality fused with each instance. This illustrates ‘haecceity,’ capturing the singularity of a moment entwined with a specific location.

The inseparability observed from the environment extends beyond the individual, establishing a deep-routed connection with the Icelandic landscape. The inferred mention of Iceland transcends mere geography; it signifies an inherent bond between Björk and her homeland, aligning with Deleuze and Guattari’s notion that every being is inseparable from its’ milieu. In this context, the landscape transforms into an integral part of Björk’s identity, underscoring the spatial dimension of ‘haecceity’. Björk further exemplifies the ‘haecceity’ in her relationship with Iceland by expressing her desire not explicitly for Iceland but for a “state of emergency.” A choice of language that affirms Iceland as a perpetual and dynamic landscape characterized by the violent and perilous nature of volcanoes and earthquakes.

The concept of ‘haecceity’ further transcends a geographical layer to the song, suggesting a tangible place imbued with affective essence that one can not only visualize but also emotionally experience.

The interplay of time and space, evidenced in the lyrics, adds a nuanced spatial element, effectively rendering the song itself as spatial. Here,

25 26

29

Harris, 2016, 15:29.

Deleuze and Guattari, 1988, p.306.

30

Chapter Three

Haecceitas

‘haecceity’ not only underscores the connection between an individual, specific moments, and places but also accentuates the spatial dimension within the lyrical narrative.

Our bodies are not solely shaped by anatomical structures but are in fact intricate compositions of experiences. As Maggie Harris suggests, ‘All human individuals should be understood as a collection of haecceities, not as a single person but as a collection of all the accidental things that have happened to them during their lives.’27 These experiences, spanning historical narratives and immediate responses, contribute to the unique fabric of our identities, forming the longitude and latitude of our individuality within what Deleuze and Guattari would term the vast plane of consistency. (The plane of consistency being a sort of foundation or backdrop where everything including our bodies and experiences, come together).

walk and I would sing… You’d walk down a hill and you’d sing a verse, and then on the top of a hill was the chorus, you know,’29 encapsulates a vivid snapshot of her active engagement with the Icelandic landscapes.

This portrayal elucidates how these experiences are integral elements woven into the ongoing narrative of her creative evolution.

Furthermore, Björk’s contemplation of her method of spatial interaction underscores the depth of her connection with the environment. This was not a mere casual stroll; it constituted a meticulously choreographed engagement with the terrain. The act of walking, synchronized with singing verses, and culminating at the hill’s summit for the chorus, transcends the conventional notion of a journey.

Instead, it manifests as a personalized spatial ritual, emblematic of her individual ‘haecceity’. This intentional and active dialogue with the environment accentuates the profound significance of her geographical coordinates, underscoring the affective qualities inherent in each stride of her journey.

In essence, the examination of Björk’s haecceitous relationship with the Icelandic landscape reveals an active and intentional engagement, emphasizing the intricate interplay between the artist, her unique experiences, and the geographical context. This analysis contributes to a nuanced comprehension of how her distinct interaction with the environment shapes her individuality and continual narrative of ‘becoming’.

CHILDHOOD I used to walk to a school which was about a half an hour walk and I would sing, I had no idea anybody would ever hear it. It was more just my method of interacting with the environment, especially spatially.28 Björk’s profound affiliation with her Icelandic heritage, coupled with a cumulative lifetime of experiences within the island’s topography, contributes significantly to the manifestation of haecceitas in both the artist and the geographical milieu. These experiences serve as crucial components that define the unique qualities inherent in both entities.

Particularly discernible in her composition “Jóga,” these moments provide insight into the intimate intersection of Björk’s personal narrative with the Icelandic landscape, similar to the conceptualization of longitude and latitude by Deleuze and Guattari.

Her poignant reflection on her childhood, as exemplified in the statement, ‘I used to walk to a school which was about a half an hour

27 28

31

Harris, 2016, 14:40.

Polar Music Prize, 2013, 01:08.

29

Polar Music Prize, 2013, 01:08.

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CONCLUSION: BECOMING-CRITICALLY SPATIAL

Figure 11: Michel Gondry Filming Björk in Iceland for the “Jóga” Music Video (August 1997).

By critiquing the work of the artist Björk, specifically the track “Jóga” (1997) and accompanying music video through the lens of Critical Spatial Practice, alongside the theoretical concepts of ‘becoming’ and ‘haecceity,’ this dissertation presents a methodological approach by which to analyse contemporary popular culture, which may, in turn, provide interesting and alternative insights into how Critical Spatial Practice may be considered in the artworks of this milieu.

The analysis undertaken reveals a network of interconnected spatial concepts and inquiries within the artwork of Icelandic singer/ songwriter Björk. Beginning with the foundational underpinnings of Critical Spatial Practice defined in Chapter 1, the spatial exploration rooted in Björk’s 1997 track “Jóga,” progressively delved into the intricate manifestations of ‘Becoming-Iceland’ and ‘haecceity’ within the track and accompanying video. Each successive investigation unearthed new dimensions to analyse spatiality within the context of contemporary popular culture.

Chapter 1 elucidates Björk’s existing spatial practice through her interdisciplinary and site-specific inquiries. While drawing upon Jane Rendell’s theory of Critical Spatial Practice, it also acknowledges the possible limitations of Rendell’s theory in interpreting the affective and intangible qualities of sites and suggests the adoption of more fluid philosophies, such as those proposed by Gilles Deleuze and Félix Guattari.

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Conclusion

Becoming-Critically Spatial

In chapter 2 and 3, which explore the specific DeleuzeGuattarian theories of ‘becoming’ and ‘haecceity’ in the track “Jóga”, Björk’s series of ‘becomings’ are outlined in the accompanying music video and identified in an analysis that exemplifies the dynamic nature of ‘becoming’ and its inherent spatiality. The ‘personification of nature by becoming nature [...] rather than observing it,’30 as Björk seamlessly integrates herself with the Icelandic landscape. The artist asserts her agency in her ‘becomings’ through the manipulation of her voice to synthesize with the tectonic landscape of her homeland, all of which transcend traditional boundaries in disciplines and between artist and environment.

Examining Björk’s haecceitous relationship with the Icelandic landscape reveals the imbued spatiality inherent in various facets of her practice, from the lyrical expressions to the accumulation of experiences that constitute her essence. Recognizing Björk as a proponent of contemporary Critical Spatial Practice, we build upon the insights garnered from the preceding analysis, furthering our understanding of the complex interplay between art and space in the context of contemporary popular culture.

explorations of ‘becomings’ and ‘haecceity,’ the study has revealed Björk’s intrinsically spatial operation within contemporary popular culture. The track “Jóga” and its accompanying video encapsulate this spatial fluidity – where elusive and emotional responses towards a site are deciphered through the respected relevant theory.

It seems apparent that ‘Becoming-Critically Spatial’ not only establishes itself as an affective methodological approach for analyzing contemporary popular culture but also enriches our understanding of Critical Spatial Practice as a practical methodology within this discourse.

Moreover, it presents a potential mode of inquiry for examining spatiality in often unexpected artworks, suggesting its broader applicability across the realm of pop-cultural discourse.

B E C O M I N G — C R I T I C A L LY S PAT I A L ‘Becoming-Critically Spatial’ synthesizes Jane Rendell’s Critical Spatial Practice and the Deleuzian concepts of ‘becoming’ and ‘haecceity’.

This dissertation explored the intersection of site-specificity and interdisciplinary practice within the context of contemporary popular culture, emphasizing the elusive and emotional attributes of sitespecific artworks and subsequently required an affective theoretical methodology for analysis.

Björk’s practice has been seen to be an exemplar of Critical Spatial Practice, materialised in popular culture, blending personal, poetic, and political elements with site-specific engagements. Through the intertwining of a pre-established Critically Spatial Practice and 30

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Takenhana 2023, p.2.

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BIBLIOGRAPHY

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ILLUSTRATION CREDITS

Cover: Filming Jóga in Iceland, August 1997. Accessed February 17, 2024. [https://www.bjork.fr/Francois-Nemeta-Tournage-du-clip].

Figure 1: Author.

Figure 2: Björk. “Hunter (Skothús Mix).” Genius. Accessed February 18, 2024. [https://genius.com/Bjork-hunter-skothus-mix-lyrics] Figure 3: RayGun Cover September 1997. Accessed February 18, 2024. [https://www.bjork.fr/Raygun-1997].

Figure 4: “Björk, Homogenic album cover, photographed by Nick Knight.” Accessed February 18, 2024. [https://www.showstudio.com/ news/nick-knights-artwork-will-be-featured-kimono-kyoto-catwalkexhibition].

Figure 5: “Michel Gondry - Do It Yourself” promotional material.

Accessed February 18, 2024. [https://www.mymovies.it/film/2023/ michel-gondry-do-it-yourself/].

Figure 6: “Bjork: Jóga.” Accessed January 20, 2024. [https://www. youtube.com/watch?v=loB0kmz_0MM].

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Illustration Credits

Figure 7: YouTube. “björk : jóga.” Online video clip, 00:07. Posted by björk, September 17, 2019. Accessed January 23, 2024. [https://www. youtube.com/watch?v=loB0kmz_0MM].

Figure 8: YouTube. “björk : jóga.” Online video clip, 02:52. Posted by björk, September 17, 2019. Accessed January 23, 2024. [https://www. youtube.com/watch?v=loB0kmz_0MM].

Figure 9: YouTube. “björk : jóga.” Online video clip, 01:27. Posted by björk, September 17, 2019. Accessed January 23, 2024. [https://www. youtube.com/watch?v=loB0kmz_0MM].

Figure 10: Genius. ‘ Bjork Joga Lyrics.’ [https://genius.com/Bjorkjoga-lyrics].

Figure 11: Filming Jóga in Iceland, August 1997. Accessed February 17, 2024. [https://www.bjork.fr/Francois-Nemeta-Tournage-du-clip].

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