Some Things Lilla LoCurto and William Outcault Have to Say About Maps (original) (raw)
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On Cartographies: Skins, Surfaces, Doings
This special issue of Liminalities comes at a time of proliferating perforations in the membrane of cartographies, mapping, tracking, tracing, and embodiments (both human and more-than-human, virtual and corporeal). Our title, Skins, Surfaces, Doings, indicates our recognition of the interrelatedness of bodies and their membranes, the surfaces across which we move, and the doings that provoke the continuing return to maps and mappings of many kinds. This is not a special issue that seeks to " map the territory " of a (not new but) deepening area of research. Rather, it offers readers an assemblage of cartographic doings at the horizon, appropriately materialising in the space of Liminalities. The collection brings together scholars who are not just thinking about maps, cartographies, and traces, but who also perform them in a landscape of images, essays, poems, animations, photographs, drawings, collages, video installations , diagrams, badges, a Prezi presentation, and a mountain climb. Even where words are employed as the creative tool for perambulation, readers must work to enter into the worlds of these maps (Barad). These performances take us flying up and over land and mountainscapes; search the depths of the ocean; step into the flow of rivers and coastlines; home in and into the bodyspacetime of relationships and families; imaginate personal, virtual, and research transformations ; and delve into the dispossessing and disappearing discourses of migration , racism, settler colonialism, haunting, and the fugitive. From the vast recesses of the heavens to the dark depths of the sea, the doings in this issue assert that what is marked and unmarked in our cartographic yearnings are not binary opposites (as they sometimes appear on paper maps) but rather (in our imaginaries) bleed like a cut finger, flash and fade like memories, and call out like a trail of breadcrumbs that marks the pulse of intensities and emotions (Stewart " Afterword "). Cartography takes as its mandate the coordinate and the topography, the singular and the collective, the aesthetic and the epistemic. Kathleen Stewart tells us that such affective cartographies build " an idiosyncratic map of connections between a series of singularities " and gaze " outward to an ordinary world whose forms of living are now being composed and suffered, " and whose destinations are yet to be realized (Ordinary Affects 4-5). Maps take us, as it were, to the edges of the known world, ever outward, the body always in tow. At these edges, we make and use maps to chart not only the journeys that get us " there " —that somewhere on the horizon—but also
Abstract A complex corporeality, as this paper argues, can be established by revising our understanding of the relationships between our body, and bodies associated, inter-actant, investigative or correspondent to our body. Fastforwarded by advanced computational design and fabrication, and increasingly embedding sensory and interactive technologies, this poses a challenge to the conceptualisation of body, material and space. At the intersection of architecture, human-computer interaction and choreography, we ask: What is the current status, and potential, of body and bodily experience in this relation? We are exploring here Duchamp’s Large Glass, and Grosz’s Theory of Spatial Complexity as conceptual drivers for a sentient environment that off ers relational exchange for a choreographed number of bodies. GOLD (Monstrous Topographies) is a spatial interactive installation set in the context of a performance that combines actors, audiences, kinetic interactive elements and programmed...
Michelkevičė, L. & Michelkevičius, V. (eds.) Atlas of Diagrammatic Imagination: Maps in Research, Art and Education, 2019
We invite you to traverse the imagination and knowledge of all the artists and researchers who contributed maps, diagrams, and texts to this atlas. Here, scientific and artistic modes of research interact with other practices: drawing, visualisation, mapping, mediation, and education. How does a diagram differ from a text? What are the pros and cons of diagrams when compared to text? Can a map be a research component, an artwork, and a scientific means of communication, all at the same time? How do diagrams mediate between different cognitive systems? How can diagrams convey bodily experiences and gestures? How do they facilitate education? These are only few questions that delineate a general research territory where the book authors’ imaginations overlap. Even though cartographic references play an important role, many of the maps presented and discussed in this atlas go beyond the geographical notion of map, and they often bear no reference to either a location or its representation. They may involve multilayered diagrams, trajectories of a freely moving body or a hand, visual signs of hesitancy, tools of material or visual thinking, charts of tacit knowledge, notations of sensual data, or the models of research hypotheses or findings. This research is also a response to the times we live in. In the face of ever-increasing information flows and the challenges of big data processing and rendition, a linear text is not always the most suggestive form of communication. Meanwhile in maps, within a single plane, we can operate with multiple layers of knowledge, and use different means of expression in order to discover unexpected links. And yet, in the context of our lifestyles as driven by ubiquitous touchscreens, this atlas might appear as a capricious act of dissent. We call our readers and users to slow down, get comfortable, and immerse or even lose themselves in the essays, diagrams, and fold-out maps. The book will prove useful to those working in and between the areas of art history, media and visual studies, literary studies, urbanism, design, sound art, philosophy, science and technology studies (STS), and education. Lina Michelkevičė and Vytautas Michelkevičius (eds.) 2019 *** Bilingual (EN/LT) collection of texts by Arnas Anskaitis, Tomas S. Butkus, Vitalij Červiakov, Christoph Fink, Nikolaus Gansterer, Aldis Gedutis, Giedrė Godienė, Sandra Kazlauskaitė, Vytautas Michelkevičius, Lina Michelkevičė, Astrit Schmidt-Burkhardt Translator: Tomas Čiučelis Copy editors: Dangė Vitkienė and John Fail Designer: Laura Grigaliūnaitė Language: Lithuanian and English Publisher: Vilnius Academy of Arts Press Release date: 2019 Pages: 208 p Format: 35×25,5 cm Covers: hardback Circulation: 365 ISBN 978-609-447-329-6 Weight: 1150 g
Fucking with the Human Outline: Notes on Zach Blas's SANCTUM
Unknown Ideals, published by Sternberg Press and Edith-Russ-Haus für Medienkunst, 2022
In his 2018 installation SANCTUM, Zach Blas transforms the exhibition space of Abierto × Obras at Matadero Madrid into an immersive environment of moving images, sculptures, and a soundscape whose inspiration seems equal parts dance hall, detention center, and place of worship. An accompanying text by Blas titled "Generic Mannequin Gets Fucked," written in first-person narrative form, functions as a guide through the space, its title and content alluding to the central figure of the exhibition.1 Generic Mannequin-think the Incredible Crash Dummies gone digital, reduced to
Unspoken Dialogues, 2017
PT Gary Hill é um artista intermedia que expõe internacionalmente desde os anos 70 e que, desde então, tem marcado o panorama artístico contemporâneo através de uma abordagem profundamente experimental sobre a sicalidade do medium, estabelecendo, por isso, uma relação singular entre arte e tecnologia. Usando ecrãs, instalações de imagens projectadas ou escultura, Gary Hill é reconhecido pelas suas visões poéticas da linguagem, do corpo, da identidade e da imagem, a partir das quais reaquaciona a materialidade, a performatividade e as experiências liminares. No seu trabalho podemos assistir à reinvenção de possibilidades técnicas e tecnológicas do medium que se destacam pelas inovadoras propostas videográácas, performativas e instalativas através de sistemas electrónicos de produção de imagens. A conversa seguinte foi realizada por e-mail e inclui complementos e revisões de Gary Hill. EN Gary Hill is an intermedia artist who has been exhibiting internationally since the 1970s and, since then, has been shaping the contemporary artistic panorama through a deeply experimental approach to the physicality of the medium, establishing a unique relationship between art and technology. Using screens, projected image installations or sculpture, Gary Hill is known for his poetic insights into language, the body, identity and image, raising concerns about materiality, performativity and liminal experiences. In his body of work we can see the reinvention of the technical and technological possibilities of the medium highlighted by his innovative video, performance and installation works, using electronic image production systems. The following conversation was conducted via email and includes Gary Hill’s additions and revisions.