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Ghost Metropolis: Los Angeles from Clovis to Nixon Main Menu Regimes: Ruling the Los Angeles Region from the Late Pleistocene to the 21st Century Places and Paths of Los Angeles Manna From Hell: Power and Politics from Region to World Power Shadows: Visual Cultures and Mass Media of a Regional and Global Power Segregated Diversity: The Geosocial Formation of Social Justice in the Late Twentieth Century Richard 37th: Nixon, Los Angeles, and World Power The American 1989: Los Angeles at the Climax of the 20th Century Narrative Essay Bibliographies, Filmographies, Gazeteers, Indexes Mapping the Past: Theory, Methods, Historiography Path Credits Root

Montages

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Montages
[Insert text from Reader's Guide]

Artes Populares, 1922 and 2006. Panoramic Montage by Phil Ethington (2006).

Figueroa Spectres, 1935-1997. Photomontage by Phil Ethington (1998).

Richard the 37th. Montage by Phil Ethington (2010).

Ruins of Boylston St. Montage by Phil Ethington with Steve Appleton (1998).

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Networks Phil Ethington
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Genres Genres are [copy from Reader's Guide) Narrative Essays Cartography Photography and Graphics Still Photography Montages Panoramas Video
Ghost Trajectories
Pico Blvd
Frame Stills Audio Shulman on Shulman
Reader's Guide Ghost Metropolis is a hybrid work composed of genres organized into narratives and networks. Genres -Genres are all stand-alone units of expression in Ghost Metropolis. Each of the nodal genres were created according to their own logics and (in the case of my own creations) in parallel with the creation of the works in the other genres. There are a finite number of instances of each genre, each capable of standing alone. Each of these is a "node" in the topology of Ghost Metropolis Multiple Genres, Hybrid Work As a whole, Ghost Metropolis is always simultaneously visual and textual; different genres are never presented in isolation. a prose essay can be isolated from other genres and still retain 100% of its original information, just as a photograph can be isolated from textual labeling, captioning, and critical commentary because photograph communicates pictorially, not semantically. A work in each genre retains its autonomous integrity when isolated from the others. Cartography is a special case of annotated pictorial form, but it does not need anything outside of its frame. Inventories --Listings of every instance of each Genre. -Narrative Essays -Stand-alone short or long essays in narrative prose form. Forty-two in number, [expand and replace the paragraph below)/ I have 42 of these. They do not necessarily have any “illustrations.” They were written by me with many images and maps in mind, but I did not plan them to be embedded with specific images in specific places. I have known all along that I would organize them groupings alongside the prose, and printed with layouts that juxtapose images and textual prose. The other types of visual artifacts I have always worked with while writing these essays are presented in the book with equal empirical and representational value as the prose. They are different genres with different cognitive pathways required to “read” them, so it is impossible to value semantic prose as superior or primary. The author uses the power of all together. But it is important to recognize that these prose essays and stories are not, largely speaking, in need of “illustration” in the normal sense. Neither would I prefer that they be stripped of my other, visual forms of expression. The visual material is no less important, but indispensable in a different way. I have tried from the beginning of this project to visualize the past alongside my semantic representations of it. I am a photographer and a writer and a cartographer, but I have never practiced any one of these crafts as a function of my practice in any of the others, nor independence upon that other craft. Photography and Graphics Photographs -Still images recorded to photosensitive films and digital devices. Includes montages and panoramas. Graphics Montages/Photomontages Assemblages of photographs and graphic arts, including cartography. Maps -Pictorial cartography. A special case of annotated pictorial form, it usually carries semantic symbols that index or reference a depiction of some region of the Earth’s surface. Ghost Maps --See Presner essay for this text Video -All motion pictures. All photographic representations produced with equipment desgned to capture motion in discrete frames and to edit those frames and re-present them at rates too frequent to be detected by the visual perception and cognition of the human mind. Frame still can be isolated from these sequences, but they were never intended to be displayed in a frozen, single-frame format, except for promotional purposes in static formats of magazines and posters. Presentations of frame stills (not to be confused with production stills) beyond their makers’ original intent include critical studies by scholars, and displays by collectors. Audio -All soundtracks lacking moving images. Includes but is not limited to the subgenres of music, radio, recorded voice of any kind, from oral histories to dramatic narratives, and the sound-tracks of movies and videos of any kind. Paths: -Groupings of Nodes with common themes or concerns, presented sequentially in roughly chronological order. -Narrative Pathways -Narrative Essays by common subject in rough chronological order. Pictorial Narratives -Curated sequences of static images (including both photographs and graphics) Cinematic Narratives -Curated sequences of film stills or clips taken directly from cinematic sources. Does not include “production stills” taken by still camera equipment during the making of movies. Cinematic narratives are only taken from motion photography—in whatever format, film to digital. Cartographic Narratives -Curated sequences of maps. Note, this is distinguished from “narrative cartography,” which is any deliberate case of sequential storytelling within a pictorial map. Audio Narratives -Includes voice-overs, curated sequences of discrete musical works (as in the “Soundtrack” of a film), and curated sequences of any form of audio that can be played independently (even if in synchronized conjunction with) any other narrative form. Networks Time and Space
Photography and Graphics Photography and Graphics Still Photography Photographic Narratives Shulman on Shulman 2005 Walter Gordon's Tour of Central Avenue, 1920s-1950s Montages Panoramas
Visual Genres Photographs (enter path) Montages (enter path) Video (enter path) Frame Stills (enter path) Maps (enter path) Graphics (enter path) Genres are [copy from Reader's Guide) Genres are [copy from Reader's Guide) Narrative Essays Cartography Photography and Graphics Still Photography Montages Panoramas Video
Ghost Trajectories
Pico Blvd
Frame Stills Audio Shulman on Shulman

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