New York cannot be the city of your dreams – Washington Square News

If youve ever paid attention to the architecture of Bobst, everything is angular. There are no curves in that god-forsaken building. God-forsaken not in the sense that its dilapidated rather, that its uninspiring. The atrium floor is mesmerizing, but as you look up, physically mimicking the act of worship, all you see are square light panels: bleak, bland and blinding. Perhaps its a blank canvas, one on which you can project your own dreams about making it in New York City.

New Yorks greatness is one of modernitys most fascinating myths capturing the most archetypal imaginations, so ubiquitous that it smudges the epistemological line between fiction and reality, where mythology becomes history and history becomes mythology.

Mythology signifies the will to exist and the denial of death. Predecessors mythologized with vigor to inspire and reinforce the meaning of existence. But as vigor withers away, myths stultify into rigid norms and traditions, cliched at best and disillusioned at worst.

The Statue of Liberty stands as a towering monument to American myths like freedom, opportunity and hope. It was the symbolic beacon for immigrants of the late 19th and early 20th centuries. Now it is a tourist destination, a small landmark to look out for if youre enjoying the south-facing views from Lower Manhattan, dwarfed by the downtown skyscrapers. The Statue of Liberty represents an idealism that has faded into history: still there, but not what it used to be.

The Western God was handed his philosophical death sentence at the turn of the 20th century. In the search for a secular belief to fill the ideological void, New York City mythologizes the greatest atheist narrative of the modern time. At the time, New York was the commercial nexus of the United States, in charge of almost half of all imports and exports. Underpinned by its diverse population and American capitalism, the culture industries the standardization and mechanical reproduction of cultural and artistic works under capitalism in New York rose to prominence. With the aid of Madison Avenue advertisers, the culture industry fulfilled New Yorks postmodern prophecy when it manufactured a simulacrum of New York City so towering it overshadows the original. New York is what it is, but its self-perpetuating myth edges toward pure simulacrum.

New York City lies in the unconscious of the Gen Z zeitgeist since the turn of the millennium, at least in part due to 9/11. Growing up in Taiwan, I have always known of a city far, far away called New York and learned of its conventional magnificence. In a way, I consumed reproductions from the culture industry, the standardized narrative of New York as one of the most developed cities in the world. I would naturally want to visit this city, be awed by its vibrance, and shocked by its abhorrent expensiveness and mechanical pace.

It was not until I started watching Casey Neistat vlogs and getting into photography that the myth began to take a toll on me. Back in 2015, Neistat made daily vlogs documenting how he hustled his way from a broke nobody to an indie filmmaker in New York City, glorifying the city and developing a cult-like following around his relentless and perhaps toxic work ethic in the process. His vlogs and histories of how photographers made their name in the city seeped into my consciousness, nourishing a quasi-religious impulse that blossoms into an idealism about New York City.

That was my sole reason to come to NYU to be a part of it, New York, New York. Coming to the city as a college student, I thought I had devised an ingenious solution to take risks for four years in this city without having to worry about survival while doing so.

Unbeknownst to me, idealism is like the Titanic, charting its course toward New York City with grand ambitions, oblivious of its impending doom. I wanted to make it as a street photographer in New York City, like how street photographers before me did in the good old days. It wasnt until I walked into the museums in the city that I realized everything I wanted to do and could think of had already been done. There are pictures of every single street corner of Manhattan. Specializing in street photography no longer has the same vigor and prestige as when Joel Meyerowitz walked up and down Fifth Avenue for decades or when Bruce Gilden snapped flash photos of people right in their face on the streets of New York. Even if I were to make it, lined up in front of me are hundreds of more experienced and talented street photographers. The frontier has settled into an established town, treasures discovered, legends made and the unknown explored.

Cultures are most energetic, disruptive and exciting at their genesis. Once they begin to propagate as a form of idealism, they have already stultified into norms, traditions and institutions. Photography seen in the galleries in the most run-down part of town is vitalizing. Photography seen in the Museum of Modern Art means it has established itself in the public consciousness. Photography in the Metropolitan Museum of Art means its creativity has legitimized into a tradition. Photography seen on the walls of luxury condos and skyscrapers means the culture industry has successfully appropriated the art, and the cause is lost. Idealism gradually becomes untenable. Holding onto nostalgia is walking forward in thickened mud or trailblazing in known territory.

The culture industry manufactures idealism into the oppressive structure it once set out to disrupt. History reiterates itself. The stultified structure awaits the next revolution to topple its oppressive regime. The process of genesis, growth, institutionalization, destruction and recuperation endlessly reincarnates itself.

To move beyond idealism means to trace the movement back to its roots and recuperate the creative energy, to interiorize the exteriority of New York City propped up by the culture industry and to reverse the postmodern mimesis. In lay terms: regulating social media use rather than consuming products of mass media, straying away from daily routines, and paying meticulous attention to your reaction to every irregularity in the city might help to move beyond the cliche idealism. Even though post-structuralists have deconstructed virtues like sensibility and intuition, the Kantian pure reason, searching for individual interiority serves the same function as identifying discursive systems and ideating counternarratives the post-structuralists embrace.

Inward reflection fuels the light that guides us out of the looming specter of stultified idealism. Instead of conforming to what New York City is, make New York City your own. New York City cannot be the city of your dreams, but it can be the city on which you build your dreams.

Street photography is about finding the surreal within the real. The surreal breaks free from the constraints of the real, norms and traditions, opening up new avenues. In this case, the avenue is Seventh Avenue. At the intersection with Greenwich Avenue, the steam coming from the manhole, shining under the street light, resembles how the moon would shine onto shifting clouds.

Taken on the first snow day of 2022, this scene casts the city in a light contrary to its conventional image. New York can be quiet, solitary and calm despite the heavy snow. There are no people, but you can put the pieces together. The scene shows no iconic New York City streets, but its iconic New York City.

Unconstrained by the linearity of the regular city streets, the parks liberate the imaginations and compositions. This scene is a self-portrait of the photographer, seen contemplating how New York City is wrapped up into a giant ball of cliches and how to move beyond.

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New York cannot be the city of your dreams - Washington Square News