READINGS:
Ken G Brealey, ‘Mapping them ‘out’: Euro-Canadian cartography and the appropriation of the Nuxalk and Ts’ilhqot’in First Nations’ territories, 1793-1916′ (TBC – on order)
This text talks about how maps are not just simple drawings, but they represent the beliefs, truths, and power of the cultures that make them. It says that maps are created by people and used to establish and maintain territories, often serving the interests of certain groups over others. In colonial contexts, maps can marginalize some cultural groups while empowering others. The author explores how maps were used to dispossess the original inhabitants of British Columbia, from the time of George Vancouver and Alexander MacKenzie to the Indian Reserve maps of 1916. This analysis sheds light on how maps played a role in the colonization of the region and has implications for understanding land claims today.
Created by Buckminster Fuller
Gerardus Mercator was a Protestant scholar from Flanders; he published his map in 1569, to help European merchants plot routes to distant shores.
The text discusses the ideas of two different maps and their implications on how we understand the world. The Mercator map, commonly used, is criticized for its distortions, while the Dymaxion map by Buckminster Fuller offers a different perspective. Fuller’s map aimed to show a more accurate representation of the Earth’s surface, emphasizing cooperation and equality. The text also talks about artist Oyvind Fahlström’s World Map, which highlights political tensions and power struggles. It then discusses the work of the Bureau d’Etudes, a conceptual group that creates maps showing the connections between global power players, revealing the complex economic and political landscape.
The text reflects on the role of artists in representing alternative viewpoints and resisting oppressive systems.
It concludes by questioning the effectiveness of artistic practices in challenging the dominant economic and political structures. (V interesting)
How could you successfully represent an alternative, radically democratic experience?
On the fringes of the art world, a group of urbanists has created one of the most impressive systems of visual representation to appear in recent years: USE, or the “Uncertain States of Europe,” a project by Stefano Boeri and Multiplicity.
Uncertain States of Europe (USE) is a fascinating research project that delves into the intricate relationship between territorial mutation and self-organization. Spearheaded by Stefano Boeri and the collective Multiplicity, USE explores the evolving landscape of European cities and the states that emerge from them. These transformations, whether driven by necessity or opportunism, often arise from unplanned and minimally regulated processes123.
The project USE — Uncertain States of Europe involves a vast network of European researchers, and it serves as a thought-provoking journey through a changing Europe. If you’re curious to explore further, you can find more information in the book titled “Uncertain States of Europe: Multiplicity USE”
The basic premise is that borders are ungraspable, that architectural programs and urban limits are unstable
“To resist is not to be against, any more, but to singularize, all and any acts of resistance are acts of creation and not acts of negation.”
Writes Suely Rolnik, reflecting on the changing meanings of artistic practice since the Great Refusal of the 1960s.
Can we imagine artistic representations of self-organizing processes, in open confrontation with the economic game? “Rules oppose and derail subjectivity, loosen the imprinted circuits of the individual,” wrote Oyvind Fahlström. Only then does a deeper territory emerge, a more complex interplay. Power lines / radical democracy.
My understanding of this:
This sentence is questioning whether we can envision artworks that depict self-organizing systems challenging the economic status quo. It suggests that rules imposed by society hinder personal freedom and creativity, but breaking these rules can lead to a deeper understanding and more intricate interactions. The mention of “power lines / radical democracy” emphasizes the potential for art to engage with political themes and advocate for a more democratic society, where power is distributed more equally among individuals.
Putting Indigenous Perspectives on the Map: Indigenous Mapping and Place Names* – HillNotes
Today, Indigenous peoples are remapping and renaming their homelands to assert their presence on the land, revitalize their languages, and share their stories, histories, and knowledge about their homelands. Maps are also used to educate future generations, share Indigenous knowledge, and assert title over their territories through land claims processes and in the courts.
Through these and other initiatives, Indigenous peoples are putting their perspectives, stories, and histories on the map for future generations.
Jorge Luis Borges
My understanding is that the art of cartography as a documentation of how people lived in an empire became ensticts because it was impractical and gave power to the people “beggars and animals”
WHEN FORAGING FOR MAPPING AND COUNTER MAPPING I FOUND THIS.
How to Create an Effective Social Impact Map (linkedin.com)
TALKED ABOUT IN CLASS:
I missed this lecture but thankfully it was recorded so here are my notes on the recording:
For mapping here are the learning outcome.
OUR UNDERSTANDING OF OUR PSOTIONALITY IN RELATION TO PEERS AND OTHERS.
Submit as PDF/ VIDEO?
Working across intercultural and transcultural.
OUR RELATIONSHIP WITH OURSELVES AND WITH OTHERS.
Include co-hort ( TONIZITO)
IN RELATION TO THE CREATIVE PRACTISE OF OTHERS.
Look at others maps and promote curiosity.
Communicate the coordinates and experience that shaped you as you are as a practitioner.
YOU ARE NOT THE AUDIENCE! (research vs Me-search)
EVIDENCE AN UNDERSTANDING OF THE VALUE OF AND FROM INTERCULTURAL AND TRANSNATIONAL CO-OPERATION.
unesco systems thinking competency
Assessment criteria:
ENGAGEMENT IN PRACTICE INFORMED BY COMPREHENSIVE ANALYSIS AND EVALUATION OF DIVERSE COMPLEX PRACTICES CONSEPTS AND THEORIES.
USE ART PHILOSOPHY AND QUESTIONS.
COMBINE LEARNING OUTCOME+ ASSESMENT CRITERIA and create a map that uses both.
Remember the social identity map?
how is it a comprehensive analysis? – it isnt its very surface.
diverce and complex context- WE GOT IT WE CAN SEE IT WHEN USING THE S.I.P
THE S.I.P IS NOT COMPREHENSIVE ANALYSIS. we need to evaluate topics MUCH MORE AND IN MUCH more depth!!!! Also we dont want little islands of info. we want to see how they interrelate.!!!!!!!
WE ARE NOT JUST TRYING TO SHOW FRED WHO WE ARE. WE ARE TRYING TO EXPLORE WHAT MAKES US ! US! AND WHAT LEAD TO OUR IDENTITY AND BY EXTENTION PRACTISE TO EVOLVE IN THIS WAY. AND IN RELATION TO MY PEERS (how would i relate it to my peers?)
i mean i think my relation to my peers is MAIP. AND INTERCULTURAL PRACTICES.
Marsha: What is comprehensive here is my practice of comprehensive analysis. ( what D: )
(excuse the typos i am writing as i watch the recording)
THESE ARE ONLY STEP ONE : EMPATHY MAP, SIP. ETC. -> much to impersonal and simple, and GENERAL.
Where is the evidence??????????????????? (what evidence :”( )
SHARE THE RESEARCH! its not me-search. GIVE MORE INSIGHT TO MARSHA AND FRED. SHARE MY RESEARCH.
We are looking for a hybrid poster /map /diagram
THE RESEARCH POSTER: a genre of cultural expression within research culture, something that often exists in relationship to research presentation. the space where they exhibit their research through posters.
POSTER IS MIXTURE OF TEXT- TABLES-GRAPHS AND IMAGES.
Answer these questions:
- what is the most important and astounding finding from my research
- how can i visually share my research with conference attendees? should i use charts graphs photos/ images?
- what kind of information can i convey during my talk that will complement my poster.
YOUR POSTER SHOULD BE DOING THE TALKING FOR YOU!!!! So preferably no recording then.
Miro/ red string police thing is what we are going for– i am sticking to this since the start and ill see how it goes.
Poster:
- TEXT
- IMAGE
- GRAPHIC DEVICES
- SOUND
- TEXTURE
- MAKES COMPLEX INFORMATION CLEAR AND ACCESIBLE
- YOU ARE NOT IN THE VICEO/ PDF
- DECONTEXTUALISED
- pijina p exun oi economy mfs giana kamoun present kt
Diagram:
- should show what this is for/ what its for
- what is the aim
- you dont know where to begin where to end
- SHOW THE VIEWER THE ROUTE TO TAKE WITH THEIR EYES
- EVERYTHING SHOULD BE INTERCONNECTED, NOT LIKE A STEP1-2-3-4 BUT LIKE INFINITE COMBO
- not to messy not too many things going on
NIAOU