The Unknown City: Contesting Architecture and Social Space

(U.S. edition), p. 80, cites Dynamics Corporation’s
“executive monitoring systems,” “Peak &
Spy.”
20 Barbara Garson, The Electronic Sweatshop:
How Computers Are Transforming the Office of the Future
into the Factory of the Past (Harmondsworth:
Penguin, 1989), p. 210. She cites (p. 222),
among monitoring systems, Lanier’s “Supervision
IV” and Tower Systems International’s “Surveillance.”
21 Lyon, Electronic Eye, pp. 192–194, elaborates
on the electronic threat to personhood. So do I in
“Striking Home: The Electronic Assault on
Identity,” in Occupying Architecture: Between the Architect
and the User, ed. Jonathan Hill (London:
Routledge, 1998), pp. 217–228.
22 William J. Mitchell, City of Bits: Space,
Place, and the Infobahn (Cambridge, Mass.: MIT
Press, 1995), p. 74, mentions the inquisitive toilets
that automatically monitor users’ health.
23 Jacques Lacan, The Four Fundamental Concepts
of Psycho-Analysis, ed. Jacques-Alain Miller,
trans. Alan Sheridan (Harmondsworth: Penguin,
1977), p. 95.
24 Jay, Downcast Eyes, p. 365.
25 Graves, Greek Myths, sec. 88e.
26 Ibid., sec. 92e. The index gives one meaning
of the equivalent name, Icarius, as “dedicated to
the Moon-goddess Car.”
27 Le Corbusier and Pierre Jeanneret, Oeuvre
Complète de 1910–1929 (Zurich: Editions d’Architecture
Erlenbach, 1946), pp. 109–117,
shows particularly aeronautic views of Le Corbusier’s
“Voisin” plan for Paris. Hugh Ferriss,
The Metropolis of Tomorrow (1929; reprint, Princeton:
Princeton Architectural Press, 1986) shows
similar views of a future New York.
28 Jean Baudrillard, Simulations, trans. Paul
Foss, Paul Patton, and Philip Beitchman (New
York: Semiotext(e), 1983), pp. 54–55; emphasis
his.
29 Mike Davis, City of Quartz: Excavating the
Future in Los Angeles (New York: Vintage, 1992),
p. 231.
30 Voyeur (Philips, 1993), interactive video.
I Am a Videocam
31 Harold Evans, Pictures on a Page: Photo-
Journalism, Graphics, and Picture Editing (London:
Heinemann, 1978), back cover, reproduces the
shot, credited to the Weegee International Center
for Photography, and story.
32 Graves, Greek Myths, secs. 73g–h.
33 Films: The Conversation, dir. Francis Ford
Coppola (Paramount, 1974); Blade Runner, dir.
Ridley Scott (Warner, Ladd, 1982); Blue Thunder,
dir. John Badham (Rastar/Columbia, 1983); The
Silence of the Lambs, dir. Jonathan Demme (Strong
Heart/Orion, 1991); Phil Sneakers, dir. Alden
Robinson (Universal, 1992); Demolition Man, dir.
Marco Brambilla (Silver Pictures, 1993).
34 Cited in Andrew Ross, “The New Smartness,”
in Culture on the Brink: Ideologies of Technology,
ed. Gretchen Bender and Timothy Druckrey
(Seattle: Bay Press, 1994), p. 335.
35 Flaubert is cited in Jay, Downcast Eyes, p.
112 n. 109. Christopher Isherwood, Goodbye to
Berlin (1939; reprint, London: Minerva, 1989),
p. 9; the book was adapted into, successively, a
play (I Am a Camera), stage musical (Cabaret), and
film.