Database, Mapping and Cartography: Genealogy of Space. ISEA 2010 Conference

http://lauraplanagracia.blogspot.co.uk/2010_07_01_archive.html

Database, Mapping and Cartography: Genealogy of Space. ISEA 2010 Conference

Mapping Virtual Skies ISEA2010 RUHR Conference Programme 24/08• Max Neupert (de): Satellite Zodiac • Alejandro Duque, Luis Bustamente (co): Unsigned• Laura Plana Gracia (es): Database Visualizations, Mapping and Cartography: Genealogy of Space.

Welcome | ISEA2010 RUHR http://www.isea2010ruhr.org ISEA2010 RUHR is the 16th International Symposium on Electronic Art, a major biennial conference and exhibition event for art, media and technology, scheduled for August 2010 in the German Ruhr region (Dortmund, Essen, Duisburg, a. o.).

http://www.isea2010ruhr.org/conference/tuesday-24-august-2010-dortmund/p27-mapping-virtual-skies”

To curate means being contemporary, assuming consequences through the body-material resistance. The body is central to our knowing as Maurice Merleau-Ponty makes it explicit in The Phenomenology of Perception by stating that “…the body expresses total existence, not because it is an external accompaniment to that existence, but because existence realizes itself in the body.” According this, the documentary based in para military is a directl attitude implying resistance. Bidoun is a Magazine about Art & Culture from the Middle East. It functions as an archive and does research about the exter-territorial zones from Europe, it means Middle East. After body corruption, territory is central investigation in Art. Bidoun was founded in 2004 with the intention of filling a gap in the arts and culture coverage of the Middle East and its Diaspora. Looking through the artworks of Masao Adachi (1939 Japan) like the titled “The Red Army/PFLP: Declaration of World War”, 1971, where Masao Adachi dealing with left-wing political themes, stopped making films and joined the Japanese Red Army, an armed militant organization.
Other artist contributing understanding the relation within the body and the territory is Mustafa Abu Ali, filmmaker of They Do Not Exist, 1974, about the Palestinians living in camps. Abu Ali, was one of the first Palestinian filmmakers in Jordan, but After Black September, was forced to leave continuing making resistance films in Lebanon. Abu Ali was able to return to Palestine after the signing of the Oslo Accords, following 47 years of exile as a refugee.
The depicted conditions in the films make understand the social need to order the territory and declare the direct consequences in the contemporary geopolitical order. Also, the development of visual imaginary structure and tools, the devices for image science, as photo, cinema, video or net art are methods that Technologically allow a social order through art. Altogether with Godard, both were concerned to find the right language appropriate to the struggle for freedom, says Abu Ali.

VIDEO Abu Ali they do not exist http://www.ubu.com/film/ali_exist.html (7-10min)

Mainly, the greater research weaponry and social tools in engineering are based in Military Corporation. Buckminster fuller, Roy Ascott, were artists researchers collaborating in Royal Navy. Both discourses are based in military instructions and on the other hand in the research on common understanding under one World map. In that way, it have to be underlined the civil and social activism as a practice of resistance. The contemporary world is under threat of Hijacking planes & codes in that Holy war against the Islamic weapon and machinery. Other existing exploited forces are the Miya miya warriors, in Coltan war at Congo region of Kivu where the electromagnetic components mines used to develop contemporary devices for knowledge, communication and transport are situated. Situation of war in countries under development, indicates an awarness on policies of preservation, that are linked to ritual, primitive and anthropology. Another attitude according technology and new media is the resources of Buckminster Fuller. It central corpse of investigation claims against the energy slaves of weapons industry in an omni-inter-territoriality under the atomic bomb system. Unabomber, Dr. Theodore John “Ted” Kaczynski, writes in its Industrial Society and Its Future, also called the “Unabomber Manifesto: Each bomb, a portrait code, in his call for a “revolution against technology”. That awareness makes the urgent need to describe the present history through the territory and the spatial category or the mapped landscape in relation to reality under the conflict reality / representation. In that sense the social media contributions to developed progress represent an effort to order society. Christiane Paul in the exhibition “Feedforward. The Angel of History” exposes the meaning of progress and evolution in history. In order to understand progress and technology, vanguard references are Benjamin and Paul Klee and they idea they claimed about Angel Novus, technology and history, progress and evolution, industrialisation and digitalization. Great human expectations are based in invention and renovation of production and distribution modes. One of the most recently is the called Chinese Gold. It is a new industry based in commerce via internet and dealings with material as plastics, resins, methacrylates. After the Hiroshima disaster, the evolution and progress involves the usage of new material in XXth century, mainly plastics and petrol derivates. The surviving industry of iron and steel, as well as metallurgies represent the materials of XIX century and the industrial revolution. It remains as an example of the geopolitics, colonialism and the cartographic distribution for material. “A Klee painting named ‘Angelus Novus’ shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, and his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.”
Ursula Bieman is depicting same matters on geopolitics, materials, and also dealing on artists solving problems for society in archives/libraries/databases about the Caucus /Caspian crude and the gas pipelines through East/Middle East. That Aesthetics of geopolitics is mainly based in mapping, documentary, archives and databases.

VIDEO Ursula Bieman the black sea files. 5min. http://www.geobodies.org/

The progress, the history and the evolution displaces the traditional perceptual mode from the uniqueness one vision (the plane earth in modern age) to complex models of visualizing (mainly influenced by aerial vision giss / NASA / aerospace). The solution remains in ethical behaviour between the engineer/hacker/artist. As Brea defines “technology (and the producing discursive knowledge) could develop a project based in dismantling the traditional systematic architecture, based in the occidental metaphysics ideology of transnational geopolitics colonialism”. In that sense,are declared 2 ways to deal with art & technology:
= GENEALOGY OF SPACE a classification list about places
= DATABASE VISUALISATION, MAPPING and CARTOGRAPHY from video.art to net.art

GENEALOGY OF SPACES:
Is a theoretical concept for History of Art and Sociology based in Nietzsche, Genealogy of Moral; George Perec, Species of Spaces; Gaston Bachelar, The poetics of Space and the definitions of Panoptic and Heterotopy by Foucault, as well as The Auters Spaces (The Others Spaces). Also takes referees from Milleaux Plateau by Gilles Deleuze. Distinctions to categorise SPACE are based in Warburg historiography and topology and also through the distinction of the physical/non-physical, the embodied/disembodied. Since the Cold War the dominion of public social space is determining and building the Hierarchy of spaces, as Foucault wrote when defined Heterotopy. Other distinctions are Distopia. Utopia. Non-site. TAAZ. Borders. Human geography. Surveillance. Site-specific installations. Theatres, stations, roads. Locations. In Tarkovski films (Stalker), the post-war landscape shows surveillance city under Humanitarian emergency where civil transport service and public agora are public space controlled by engineering domination. The Communication and Transport system is depicted as in Naomi Klein “Fences and Windows” complaining about the lose of thought in public space. The Zone is a post-industrial city jail, an example of Tarkovski existentialism, where the Activism is a social practice to change heterotopias, through the ego/nature in relation with the environment where emotional erosion and environmental desertification seeks urgently for what Guattari asks in 3 Ecologies. The poetics of materialism and the ideas about transfiguration, transubstantiation, are directly in relation with the social urban space distribution where the cave is a Zone, a Material, a Structure and an Image for knowledge. A poetic visual image framed in an Architectural solution for humanity.

PHYSICAL: Plateau / Heterotopy / Non-site / Terrain Vague / Ruin / Geopolitic (glocal/border/exile/exter-territoriality) / Public Space / Landscape / Domesticated Space / Cultural Sites / Utopias

-Plateaux. Plateau (en), Meseta (sp) is a Deleuze term definition. It appears in A Thousand Plateaus, the second book in the Capitalism and Schizophrenia. The twelfth “plateau” was published separately as Nomadology: The War Machine. Thousand Plateaus served as a ‘model’ for Michael Hardt and Antonio Negri’s book Empire. Negri, who has also collaborated with Guattari, once called it “the most important philosophical text of the 20th Century. The authors indicate that the plateaus may be read in any order, emphasizing the rhizomatic nature of the knowledge presented and the infinite number of permutations that are possible for such assemblages. A Rhizome is a deconstruction of space that involves movement, vectors of direction, mentally and physically, communicative and locative.

-Heterotopy. According to Michel Foucault, Heterotopy is the place for the otherness. In other words Foucault’s concept of ‘heterotopia’ implies the ‘other’ space. Counter-sites are outside of all places, but it may be possible to indicate their location in reality. Are also human environment in which the inhabitants live in a state of crisis. Other examples can be boarding schools or military services. Heterotopias of deviation are rest homes, psychiatric hospitals, and prisons. Cemetery, library, museum, building under eviction are other heterotopias. Mainly, detention spaces.

-Non-site. By Marc Augé (born 1935 in Poitiers) is a French anthropologist. In an essay and book of the same title, Non-Places: Introduction to an Anthropology of Supermodernity (1995), Marc Augé coined the phrase “non-place” to refer to places of transience that do not hold enough significance to be regarded as “places”. Examples of a non-place would be a motorway, a hotel room, an airport or a supermarket. They were a sign of supermodernity, mainly developed from 80s. Site/Non-Site. By Smithson is a concept dealing with Landscape as architectural concept. It is expressing the matter among Real/Representation and how to do art inside/outside the gallery.

-Terrain Vague. It represents the form of absence in the contemporary metropolis. It focuses on abandoned areas, on obsolete and unproductive spaces and buildings, often undefined and without specific limits. It is a French term. The value of their state remains in the lack of productivity. As spaces of freedom, they are an alternative to the lucrative reality prevailing in the late capitalist city. They represent an anonymous reality. Terrain vague is also a film by Marcel Carné. Mainly are buildings under rehabilitation.

– Ruin. Is defined by the most of modern philosophers, Benjamin, Derrida, Borges, Kafka, and Jarry. “Each epoch not only dreams the next, but also, in dreaming, strives toward the moment of waking. It bears its end in itself and unfolds it- as Hegel already saw- with ruse. In the convulsions of the commodity economy we begin to recognize the monuments of the bourgeoisie as ruins even before they have crumbled.”- Walter Benjamin. Also, Anselm Kiefer reefer to ruin in the artwork Jericho, a construction of the meaning of history through the ruins, the heritance of the past, the tradition and the sacred and holly knowledge. Also Bunkers can be included.

– Geopolitics
G0.Glocal is a terminology used from the union of two other concepts: global/local. It refers in its connotation how to consider the notion of Nation-state, its Legality, and the matters dealing with the territory, the local citizenship and the communication with otherness internationally.
G1.Border. It is a field in geopolitics that consider (trans-) border spaces. It is developed under the definition of Europe, from Nietzsche to Baudrillard and the concepts of implosion/explosion to order the territory and the history, from colonialism to the actual cross-cultural order based in transatlantic relations and policies and diplomacy of OTAN, the hegemony of power after perestroika and the transcultural identity in its aims to achieve the modern ideology of international style. In its policies consider the east border, the Russian margin, the Transcarpatia, from Poland, Ukraine, Hungary, to Slovakia and the Mediterranean nations across Balkan nations. http://ro.wikipedia.org/wiki/Regiunea_Transcarpatia it does not appear in Google maps
G2. Exile . Hospitality is a concept based in Kant idea of Europe. In its signification it is read to shelter, the warmth (lo acogedor, sp), after the disaster and the entropy of language and its consequences on no-understanding in communication. It is reinforcing the Interchange of lives after the disaster. It links the concept of hospitality with the exotic, the other, those who are excluded from the politics of Empire and Colonialism. In Derrida, hospitality is considered through the capacity to conceptualize other as difference through language. The other is given through the acceptance of the logic of the languages. Then in the notion of nation appears unread the other, a foreigner, the Stranger, a Host. Its condition is the Exile and is understood from Jewish exile to contemporary Diaspora. Levinas has theorized about persecution, war and exile. Derrida also conceptualises about Jewish exile in different epochs, Christianity and Modernism (national socialism and comunism). The concept of nomadic as an alternative to capitalism that encounters in Contemporary Europe culture the Immigrant implying the Deconstruction of nation and the Universality, through the epic of Host and Guest as Yael Bartana, characterises in videos, through the idea of the melancholy and the re-order of landscape. Other concepts here Nomadic, Gipsies, Jews. Exile implies the voyage (trip) as an alternative, characterised by the Flaneur figure. VIDEO YAEL BARTANA http://www.my-i.com/ http://www.youtube.com/watch?v=6KyXSqH8hac
G4.Exter-territory. Anarchitektur artist collective defines the exter-territories as camps of new juridical-political spaces in the “war on terrorism”. Exter-territoriality is a consequence of geopolitics and post-second-world- war, the post-exterminium policies and the post-colonial domination. But contemporary order under Empire is doing sieges (asedios), building asylums and dealing with the legality of the slaver– prisoner. Examples are Guantanamo, Cuba; Abu Graib, Iraq. Exter-territoriality is consequence as well of the militarism and the military industries in post-communist countries of Middle East, a conflict on primary order. The threat and weaponry industry is a force of act in neoconservative policies as well as blockage (bloqueo) and seizure (embargo). Exter-territoriality is a condition between imposed legality and illegal human rights. It creates military camps, prisioners, refugees, asylums. The Human rights letters in Genève convention declared an international law that is actually avoided by Military strategies. Agamben defines the camp as an exception place, an emergency state, under the situation of exclusion, like Bahia de Guantanamo. There is needed a revision in political and juridical space. Exter-territoriality does not belong to nation because is a concept based not in territorial border but in delocalized and isolations of national territory, even though it contributes to the symbolic political territory. Imprisonment of Taliban, Al-Qaeda, in Spaces of Empire considered exterterritories and camps is also what Adorno defined in Negative Dialectics, the concept of productive machine in Nazism state where the object of the military state is the victim. The state machine is the war production to criminalize the otherness and victimise population. Its productive machine is war (Deleuze). WEBSITE Trevor paglen Black Sites Photographs of secret CIA prisons, which are referred to as “black sites” in internal CIA documents. http://www.paglen.com/

-Cultural sites.
C1.Fairs & Biennals. According to contemporary social order and its social matters, cultural policies of deterritorialisation are offering mediated solutions in culture. That process of decentralisation in fairs & biennial is a consequence of emerging postcolonialism biennials, like Sao Paolo, Cuba, Korea. Other example of deterritorialised art practices is Nicolas Bourriaud PAC Murcia Estratos Biennale in Spain. http://www.pacmurcia.es/2008/window.asp .
C2.Scene & Theatre. Other artistic strategy comprises those based in the scene, the concept of Mise – en – escene (Godard, nouvelle vague) represented in Theatre, a possible solution through art, representation and performance.
C3. Archives. Are as well spaces or places for cultural policies, and they work as productive spaces of knowledge. Its spatial typology includes as well Libraries, hubs and cultural centres. The archive displays a new spatial configuration from physical to virtual storage. The aim of the archive is to collect and to order the space, order the objectified space. The placement of the archive corresponds to the policies of cultural heritage as UNESCO / ONU policies based in preservation, resource, mainly policies of preservation against policies of extermination based in value and history, memory and preservation. Also Google, Skype, Wikipedia are new Distribution of knowledge in order to Digitalization of archive place treated by Foundations and Museums. Judd Foundation.
C4. Public space. is formed by common places for citizens and civil population. Places like squares, corners, etc. They answer the concept Public Space and Public Sphere developed by Hanna Arendt. Actually they are under threatening of the urban space homogenization & mcdonalization. It means they turn into a signal value of market capitalism. Then the city becomes the City brand as happened in Amsterdam or Barcelona (Barcelona City of Design or Barcelona Olimpica). Eulalia Valldosera represents using human geography and performance those matters with public space. Public space is conformed as well by Places of memory, places of power, political places, political institutions, senate, parliament, guildhall, courts of justice. Also by Monuments and Heritage, Museum, commonly build under colonialism and nationalism notion of Empire, as Roman grows heritage from looting, plunder and pillage from Greece. Other civilization occidental order of space and society is that architectural order based on the cathedral s. XI and palace s.XIX. Actually urbanism, architects, artists and activist are dealing with the matters on socializing architecture and digitalizing architecture.
C5. Domesticated space. is a term meaning the domestication and spectatorial mode in art and spectacle. Martha Rosler has investigated in that typology offering some solutions in the domestic space as a position for Feminism and modernity. Also, Hito Steyerl defences the universalism as paternalism domination according to its Feminism vexation. The Dominium and colonialism, the policies of expansion as well as the institutional mode of representation under one signifier, let the mode of reception and the survival belong to the Domestic space, as well as the nearer and the own.

-Landscape. It is a concept that implies Ecologies and Sound landscape. It has to care with the natural environment preservation, directly dealing with ecology. It also has to consider the future of the city, the code city, the city of lights. Consider as well the effects of technologie and progress in landscape as the desertification and the erosion.

-Utopia is a name for an ideal community or society possessing a seemingly perfect socio-politico-legal system. The word was invented by Sir Thomas More for his 1516 book Utopia, describing a fictional island in the Atlantic Ocean. Examples of Utopias are micronations, TAAZ, caves.
U1. Micronations are what Fiume and Gabrielle D’Annunzio conceptualised as Microstates, eccentric and ephemeral places in nature, full of actions of protest and based in visionary. Its ideally location is the sea land at North Sea English coast where Bates family occupied a territory and build up a social farm. Other examples of micronations or utopias are the 1971 Robert Filliou, Republique Genial; Atelier van Lieshout, Avl-ville at port Rotterdam, where they do medicine and alcohol. Artists working in Utopias are Suzanne Lacy, Superflex, Andrea Zittel. Mainly utopias are based and share ideas about the ritual, the human awareness and the Myth. They set up as a Republica based in Hedonism and Mysticism.
U2. TAAZ is a new social utopia based in piracy and technological media. It was described by Hakim Bey.
U3. The idea of the Cave conceptualises the myth of origin.

NON PHYSICAL: immaterial disembodied spiritual phantasmagoria mnemonic memory psychic appearance virtual absence Mnemosyne . Among non – physical spaces are considered the definition of rhizome, internet, distopia, atopia, neterotopies, Categorised for New Media Art they have to deal with the politics of the deterritorialisation. It implies to Builds up the web and the Ecology of transport, as well. It also criticises and claims to reform the social heterotopia structure through artistic agents. It means, built up alternative spaces as Galleries based in Deterritorialism, Non-site, and consequently to the Dematerialization of the artistic object from Conceptual and Performance from 70s.

-Rhizome. Rhizome is a philosophical concept developed by Gilles Deleuze and Félix Guattari in their Capitalism and Schizophrenia (1972-1980) project. It is what Deleuze calls an “image of thought,” based on the botanical rhizome, that apprehends multiplicities.

-Internet. Artists and curators in front of the emergent new systems of communication as internet, it is a determination to turn up the web. It means to build the World Wide Web. Those new system of communication (or knowledge) are defined as Immaterial by Joasia Krysa, Christine Paul or Steve Dietz. Immateriality is directly associated with networks, computers and cybernetics in its intention to deconstruct the meaning of image and sound. Steve Dietz in his 1997 text Curating (on) the Web defines immateriality in reference to the Italian autonomous Marxist tradition, as a response to the transformations undergone by labour in post-Fordist or network societies. The immaterial labour is a form of social relations, a communications systems and information networks. From the art object to the processes of dynamic online systems, Negri conceptualizes the immaterial labour according to communications technologies and new forms of distribution and production. Also, Marina Vishmidt defines immateriality as a useful concept to index the characteristics of curatorial, critical and media sectors to the wider structural transformations in the landscape of work (2004, in Terranova herein). Ubiquitous is a definition of post media era by Jose Luis Brea. The character of ubiquity is unlimited reproducible in its production. Ubiquity Era refers to Electronic digitalisation, Phenomenology of perception and the communication and image production technologies. The election of the concept and the title is justified under the homage to the anticipatory intuition of Paul Valery in his Visionary depiction of the Transformation and Awareness in Art Paradigm, a change in the cultural paradigm through New Media Art http://aleph-arts.org/ and the history of net.art. Cyberspace refers also to the telematic and Virtual definition by Roy Ascott for the immaterial machine of knowledge, memory and communication. It is also an analogy to the Marxist concept of the material machines – an embodiment of collective intelligence, general intellect and technology in the post-Fordist economy. If we display cultural policies in cultural sites as theatre or archives, the immaterial internet knowledge is displayed through the Electronic screen, new place to share and distribute according to the Interface and connectivity implying Cosmovision through cyberspace and Internet, also developing new laboral works, more Flexibility and Extended through the cross-geography and at the same time increasing isolation and control on employs through Machine on surveillance.

– Neterotopia or Net.utopia. Is the term condition for social, anarchism visions of the net. It covers Tactical media as Resistance in front of production machine and abuse of power. One of the referents is the net art online archive net time http://www.nettime.org where John Lydon wrote a manifesto “Anger is energy, and also their limitation”. Their typical heroes are the activist, the nomadic media warriors, the pranxter, the hacker, the street rapper, the camcorder kamikaze, they are the happy negatives, always in search of an enemy. Media tactical is the practice of everyday life, and in it is not also defended by utopian anarchist, but for theoretician as De Certeau and Bauhaus, where farmers and citizens are considered to have become the migrants, the refugees, the gastarbeiters, the asylum seekers, the urban homeless. Neterotopia is also inspired by Michel Foucault’s concept of heterotopia. Neterotopies are thus inserted in the media communication system, respecting its rules and limits, at same time attaching a new significance to advertising spaces. Artists and websites: Christophe Bruno (liberation), Ghazel (sortiraparis.com), Susan Hefuna (movies.tenuae.com), Nathalie Hunter (google.com), Yuji Oshima (arman.fm), Peter Lemmensand Eva Cardon (wunderground.com), Adam Vackar (inrockutibles.com), Stephen Vitiello (villagevoice.com), Luca Vitone (viamichelin.it), Version (Gabriela Vanga, Ciprian Muresan e Mircea Cantor), corriere.it, 0100101110101101.ORG (film.it). WEBSITE LUTZ DAMNBECK http://www.t-h-e-n-e-t.com/

– Dystopia. Is a concept from ancient Greek, and it means place or landscape. Alternatively, it is an anti-utopia. It is also a vision of an often futuristic society that has degraded into a repressive and controlled state. It is usually said that dystopian liberal are against utopian anarchist. Godard film a typical dystopian landscape in Alphaville, where Lightscapes represent the future city or the digital city where digital space reproduce timetravels and dreamscapes through the city of bits, the media city organised through mapping, google.maps, locative.media, sound.scapes, light.scapes media.scapes, space.scapes. The future city it is also being developed to the telematic embrace and noosphere city of connectivity and electricity. Ryoji Ikeda, Daniel Canogar and Rafael Lozano Hemmer artworks are celebrating new media art by using light in public space. Another polish artist, Krzysztof Wodiczko is displaying new agoras but as a nomadic sophist in a migrant polis where physical or media and virtual landscapes of the capital are also radically deterritorialised in flexible media. FILM Godard Alphaville

– Atopia is the no-space. Atopia may refer to a society which does not have territorial borders. It relates to Outerspace, the Aerospace. Atopia prepares for the awardness that exists between the no-space and the individual. The tension between individual and something above nations, countries or states. Atopia as outerspace comprises and responses to NASA policies and the satellites development. Ubermorgen presents in Universal Health a universal Atopia http://ugi-heal.me/.VIDEO Captain Goto10http://www.captainforever.com/media.php

– Imaginary Space (utopia). It includes also psyque and psychic, subconscious and the direct inheritance from the meaning of the image in surrealist painting as the liberation of unconscious. Lacan, Borges, Dali, Jodorosky are authors working in that non-physical spaces building memory for solving matters about the meaning of society. Uqbar is a fictional place in Jorge Luis Borges’s 1940 short story “Tlön, Uqbar, Orbis Tertius”. Uqbar in the story is doubly fictional: even within the world of the story it turns out to be a fictional place. The story turns on the narrator’s discovery of a Nihilartikel about Uqbar: that is, a false article in an otherwise legitimate reference work. Also, despite its overall fictional nature, Uqbar is loaded with references to real people and places and it playfully combines reality and fiction. Consequently, on the one hand hoaxes about Uqbar abound, and on the other, many writers have claimed that Borges’s Uqbar is entirely fictional. Nonetheless, there is at least one real place with the name Uqbar, in Algeria, as well as a town called Ukbara in Iraq, each of which seems to have at least some aspects in common with Borges’s fictional Uqbar. These places may plausibly have inspired the name and some other aspects of the Borges’s Uqbar, although Borges’s description of its culture is fictional. Borges writes also about The Aleph, which describes an artefact (the Aleph) that can reveal the entire universe at once. The work also presents the idea of infinite time and begins with Hamlet, II, 2 citations: O God! I could be bounded in a nutshell, and count myself a King of infinite space. Other utopia based in imaginary space through potential psychic illusion as development of reality is filmed in Fando and Lis a surrealist film by Alejandro Jodorosky where the characters lives in post-apocalyptic wasteland in search of the mythical city of Tar and imaginary utopia space, plenty of symbolism, analogies and magical. Tar is a place where legend has it all wishes comes true. That can of non-physical utopia are mainly developed by psychical space from desire and fear. Another surrealist utopia is writing by Salvador Dali, influenced by Paranoique-Critcal method in Minotaur. The essay titled Les comedons de l’espace reproduces the idea about “les etres-objets” which displacement oversteps the space in a relational coordination between time/space. “Les etres-objets aérodynamiques” reproduces the evolution of the idea about space in Dali, influenced by Einstein and Heisenberg and using culinary metaphors as an evidence of the relation between space and memoire. The “etres-objets aérodynamiques” or “les récents comédons” represent the foreign corps of our personal space in the non Euclidian space-temps coordinates. All theory is subjected and supported by Paranoiac critic method were “êtres-objets: are the foreign body of the space. Moreover, post Freudian psychoanalyst is considering, mainly based in Jung theories, the human body as place, and its signification in relation to thought as a non-physical place of communication and symbolism. FILM JODOROVSKY Fando y Lis http://www.megavideo.com/?s=seriesyonkis&v=LKG9ZUZD&confirmed=1

DATABASE, MAPPING & CARTOGRAPHY
Visualisation and Representation. From video.art to net.art

1 DATABASE
Thesaurus is the common Database informatics software used to Register and Administrate the description of Metadata. The Encoded archival description (EAD) is a textual encoding initiative (TEI) used in Bibliotechonomy, Archives and for Documentation. There is also the Metadata encoding transmission standard (METS), the Digital Preservation Coalition (DPC), the Open archival information system (OAIS). All of them are system to register data information under specific encoded language to transmit and preserve knowledge from archives (social, sciences, literature…). The space data system is a new Digital archiving where to keep Standard information, under the standardisation of language.
Databases are used to visualize information in archives (online or physically). The most common database areas are History, Weather and Social conditions, Population and Sociology or Political and Economical. Other are based in more artistic specific projects as net.art or gender/feminism policies. The policies of Archives in museums as John Ippolito displays at Guggenheim, implying not a more objectified creation of art, but an online practices. The main field in database about art is the question around preservation. Collectives as CRUMB (Beryl Gaham, Sara Cook) and Curators as Crhistiane Paul are ng research on the concept of taxonomy and mapping as a method of classification in the history of art and the media art history. Others are Haraway, Allan Turing, David Ross… There are also public strategies based in collect and archive as Rhizome specialised in digital art database for preservation. The categories of preservation according to the policies of ONU / UNESCO / ICOM are answering how to deal with public heritage, as well.
Conceptual Art based in documentation, research, language and methods of ordering memories is a reference. Site specific documentation, software and database are like maps where to display resulting site data research, assuming an incomplete and impossible representation of exact reality as it is said in Computational Machine, the Media art theory by Alan Turing. Turing is answering the impossible ideal representation or reality through the techniques as photo, video and also memorial databases that are working by random access. Working with databases implies a politics of nomadic and decentralisation as in Josh On show in the net.art database They Rule, a post-capitalist deterritorialised world of corporations. Also, Lev Manovich in Data Space Memory answers about the mapping data visualization as an absurd existentialism. The Visualization of Interactive Data could be specified in Data.base.art, something in between art and archives collect and preserve.
Databases are an Editorial and Structural model for ordering knowledge, like Abby Warburg models for classification, the Rhizomatic or the Diagrammatic. The policies of database art preservation are near to net art policies in distribution and production. Also the poetics of code and the modernism language consideration after post.structuralism in Derrida are decisive in the storage and museography according, again, with the politics of the net. net.art started at the 90s when the www was built. Its criticism underlines to dada and surrealism, symbolism and decadence as a counter-ideology of history and progress represented by Benjamin.

Public Database:
NASA http://www.giss.nasa.gov/ maps databases climate
WIKIPEDIA database encyclopaedia http://www.wikipedia.org/
ARCHIVE storage for users, artists & collectives http://www.archive.org/
ARCHIVE MAPS database maps London ancient http://archivemaps.com/mapco/london.htm

Art Database:
GAMA European media art archives http://www.gama-gateway.eu/
WHITNEY ART MUSEUM new media art storage http://whitney.org/Exhibitions/Artport
DATABASE OF VIRTUAL ART database of virtual art http://www.virtualart.at/
CRITICAL GLICHT ARTWARE database of net.art http://criticalartware.net/winners/
RUNME.ORG database about software art http://runme.org/
DATA ART BBC data art Information http://backstage.bbc.co.uk/data_art/index.ph
NETTIME mailing list network about new media net http://www.nettime.org/
John Lydon the ABC of Tactical Media Geert Lovink Fri, 16 May 1997 09:38:11

Artworks Database:
BEN FRY On the Origin of Species: The Preservation of Favoured Traces http://benfry.com/traces/
This project is made possible by the hard work of Dr. John van Wyhe, et al. who run The Complete Work of Charles Darwin Online. The text for each edition was sourced from their careful transcription of Darwin’s books, and Dr. van Wyhe generously granted permission to use the text. This piece is a simpler version of a larger effort that looks at the changes between editions, and is intended as the first in a series looking at how the book evolved over time. Built with Processing.

LISA JEVRAT Interspecies Collaboration http://www.interspeciescollaboration.net/
Web Site, University Class (2006 ->)
http://www.interspeciescollaboration.net is a web site for posting resources relating to interspecies collaboration and project documentation of art project made together with non-human animals.(Created for the UCSB art class “Interspecies Collaboration”, now open to anyone who wants to participate). Exhibitions:2009/09 Intelligent Design: Interspecies Art, UC Riverside Sweeney Art Gallery.

KONRAD BECKER Institute for New Cultures technologies t/0 http://www.t0.or.at/
He networked exchange of knowledge and the free access to information and educational resources are important prerequisites for the future of democracy, culture, and society. The Institute for New Culture Technologies/t0 has been investigating key questions of information societies since the early 1990s and has built an international competence platform for the critical use of information and communication technologies.

BIT BUREAU OF INVERSE TECHNOLOGY http://www.bureauit.org/
You’re part of the Bureau of Inverse Technology (Bit) and one of its most interesting projects is ‘bitradio, autopirate radio service’, “an automated radio Interruption service for local area news “with a unit that will break in clearly over selected popular FM radio in 1-3 mile radius”. Did you ever thought at translating such a technology for a specific net protocol in a sort of pirate textual mode? Alessandro Ludovico

DIRMOSER http://residence.aec.at/didi/FLweb/
SemaSpace is a fast and easy to use graph editor for large knowledge networks, specially designed for the application in non technical sciences and the arts. It creates interactive graph layouts in 2d and 3d by means of a flexible algorithm. The system is powerful enough for the calculation of complex networks and can incorporate additional data such as images, sounds and full texts.

2 MAPPING
The term mapping was used for first time to define the use and function of informatics software. It is also a concept that can define nodes & collectives when acting as social cohesive groups. The Geopolitics of Mapping implies an awareness of distopia and atopia where Geohackers and Locative Media Artists work as Psychogeographers of the net and the place, building immateriality under the influence of cross reality gamers based in real models of army weaponry, and also corporative devices. Most artist working with mapping develop tools to define the Experimental locality (Gordan Savicic Constraint City), the Cybernetic localization through Mobile, locative devices projects and geo-spacial devices, all of them built as a mixed-reality where place/space, presence/absence, mobility/corporality are mixed. In all of them the main characterization is the Ubiquitous of the work, soundscapes, surveillance-culture and exploring locality through wikis. These lasts, are developing tools for mapping software allocating Locative geographic services in wikis, alternatives to Google maps, based in Common projects as Local Feeds or others using Open source. These are Alternatives and also detect a failure in social urban signs. The cybernetic science and communication detects in those a strategy for surveillance stablishment and also the Production of image, icon and sing representing the institutional mode of representation under a Code using certain social structures (mainly corporations and brands). In that way emerges the term e-cartography and e-maps, what represents the growth of restrictive cartography in an electronic age. The term restrictive cartography contributes to create maps where to delineate historic spaces, places and districts under e-surveillance and corporativism, as well as the evolution to an e-government. Behind that awareness of lost of privacy and healthy, to protect environmental conditions through soundscapes, mapping, audio web, in Arts lab Engineering Developing tools for Preservation and sustainable environments.
Based in Foucault and Becket, the Urban-Vegan is looking for how to avoid the panoptical system of control in contemporary city. Some artists use the Hijacking method of CCTV, an artistic strategy that develops hacked network criticising surveillance as a strategic crack. Against the corporativism rolling surveillance, based in image representation systems development, Internet and located in Silicon Valley, they are wasting venture capital and are concentrating a terrain of specialized data, in Palo Alto California. There Microsoft, Adobe and U.S. Navy are developing society industry communication tools altogether with Linux. Artist as Manu Luksch, Natalie Jeremijenko or Laura Kurgan warns against the policies of Radar and computer tools. Others as well are Disinformation and Caspar Below. Hollywood, Shopping Centres, Control Rooms are all signs of Control and Repetition, Surveillance, Progress, Industry and Crisis. In front of that, artists retake public space, performing a symbolic social activism and resistance. It is known that London City has the high density of CCTV surveillance cameras in the world and the UK data protection act does not allow to Hijacking CCTV. The legal and social aesthetic dimensions of CCTV are asking about the conditions living under surveillance societies and also the relations with Surveillance, democracy and humanism. Also Filmmakers are dealing with surveillance apparatus and CCTV system that does not permit to record sound. To work with found footage of surveilled urban space means to deal with the Political relations around Permission and Surveillance. From the Media activism in Silicon Valley territory and the resulting superficial physical view of the most invisible factories dealing with the industrial secret’s paranoia (Apple, IBM, Intel, Xerox, ADM, Sega, HP, Yahoo, Oracle, Adobe, Sun, 3Com and so on…) and paraphrasing Negativland, could the breaking of protected information dogma be our current best entertainment value? Alessandro Ludovico. (© manu luksch)
Other city mapping strategy conducted by artist is the work with urban sensors, including monitor temperature, sounds, noise, light, vibration, movement, humidity and gps. Also solar panels and led self sufficient screen façade are used. In that way, wireless, sensor network and environmental data make the City space become a fabric, a database of sounds and data, sensing the environment. That open source environment visualizations build a Holistic city system where information & data about weather, noise, traffic, are changing the space to Datacities, an emergent cities where Big brother is under control of everything, where movement, sound and data are monitored, stored, analyzed, logged. As Orwell warn about Control and Security systems, this data-space environment and the Interaction data builds a new Landscape. To archive data, to produce sound streams, to display security systems for saver and healthy conditions of urban live citizens, that is what datacities are doing. Also Electricity is conducting traffic publicity and information under lighting conditions with software structured in city public places. That image (or better say manipulated image) must be analyzed under relation real/representation and the codification of image language by institutional representation. Datacities are developing as well the Real time visualisation through generative softwares and sensor working with Databases installed in cityspace. (© stanza)
To read the memory landscape, through the history of the poetics of the space in the post-industrial city as Situationism and Decadents did, helps to conform an urban sensory city, where past & future are linked through citizens’ memory, identity, love and death. The relations with the Space as a Hierarchy or Genealogy, based in Foucault concept of Control, and also In/out, Distopía/utopia, Labyrinth, among others builds the subjectivity of Psicogeos, Anti-militarism, through ethics discipline and aesthetics of melancholy, failure, Ethos subject and History emotion.

mapping database
UQBAR http://www.genderartnet.eu/emerge/
JOSH ON They Rule http://www.theyrule.net/
mapping markets
ANTIDATAMINING Stock Overflow http://rybn.free.fr/ANTI/INDEXFRAME.html
UBERMORGEN http://www.ubermorgen.com/EKMRZ_Trilogy/
mapping language
WARREN SACKS Translation Map http://translationmap.walkerart.org/
ANTONI MUNTADAS On Translation: Social Network
CHRITOPHE BRUNO Dadameter http://www.iterature.com/dadameter/

mapping labs
LABORAL
MEDIALAB PRADO Database City http://wiki.medialab-prado.es/index.php/Visualizar_%2708
BALTAN Joel Ryan Raviv Ganchrow Sonic(spaces) http://www.baltanlaboratories.org/
M.A.R.I.N Tapio Makela Sea Hack Lab http://marin.cc/seahacklab
ARCTIC PERSPECTIVES Matthew Biederman http://arcticperspective.org/
HANGAR Yves Dogoyon GISS Tv http://giss.tv/ http://mapomatix.sourceforge.net/
LOCUS SONUS Locus Stream Map http://locusonus.org/
NOISE TUBE http://www.noisetube.net/

mapping the city
MANU LUKSCH Mapping CCTV around Whitehall. http://www.ambienttv.net/
Two-part exercise to map CCTV cameras around Whitehall, London, within a zone covered by SOCPA (Serious and Organized Crime and Police Act 2005). A map of the hundreds of cameras in the zone was made over two days of observation. the second part involved mapping the range of one of these cameras, no. 40 in Villiers street, by intercepting its signal as it was transmitted wirelessly without encryption.

STANZA http://www.stanza.co.uk/
Stanza is an internationally recognised artist, who has been exhibiting worldwide since 1984. His artworks have won prestigious painting prizes and ten first prize art awards including:- Vidalife 6.0 First Prize. SeNef Grand Prix. Videobrasil First Prize. Stanzas art has also been rewarded with a prestigious Nesta Dreamtime Award, an Arts Humanities Creative Fellowship and a Clarks bursary award.

CHRISTIAN NOLD http://www.softhook.com/
Christian Nold is an artist, designer and educator working to develop new participatory models for communal representation. In 2001 he wrote the well received book ‘Mobile Vulgus’, which examined the history of the political crowd and which set the tone for his research into participatory mapping.

ESTHER POLAK Elastic Mapping http://www.estherpolak.nl/
ElasticMapping: an imagined software for GPS-data editing. This small website is dedicated to Esther Polak’s idea of develloping an editing software for GPS data. All kinds of small and big ideas on the subject and experiments, she will publish here.

GORDAN SAVICIC constraint city http://www.yugo.at/processing/
‘The pain of everyday life’ is a critical performance addressing public and private space and their paradigm shift in the realms of everyday constraints, therefore the relation of abstract information layers to our everyday life. A chest strap with high torque servo motors (muy fuerte mi amigo!) and a wifi-enabled gaming console (Nintendo DS lite) are worn as fetish object. Thus, when approaching an enclosed encrypted wireless network, the strap reacts immediately.

3 CARTOGRAPHY
Cartography is a concept build up around the post Marxism theory on 1980, in the general frame of postmodernism influenced by postcolonialism Diaspora, and reincorporates in its linguistics terms as drift, pshycogeography and cartography, re-signifying its definition. Brian Holmes uses it and also Frederic Jameson.
Jameson uses the concept in art theory and also for human sciences. In his criticism against Capitalism and the new models of spatialization that this economic system implies, Jameson receives as well the influences of structuralism, the existentialism of Sartre (El Ser y la Nada), the Marxism from Adorno and Frankfurt School, and also Benjamin, Marcuse and Althusser criticism on Cultural Studies. Materialism becomes here an humanism inheritance defending cultural studies as a redefinition of labor and the mode of production. Postmodernism metanarratives by Adorno, Horkheimer and its criticism to culture industry reinforces the conception of a new spatialization of human relations. As Jameson says “Space that has been developed here suggests that a model of political culture appropriate to our own situation will necessarily have to raise spatial issues as its fundamental organising concern. I will therefore provisionally define the aesthetic of this new (and hypothetical) cultural form as an aesthetic of cognitive mapping. In a classic work, The Image of the City, Kevin Lynch taught us that the alienated city is above all a space in which people are unable to map (in their minds) either their own positions or the urban totality in which they find themselves (…) or should it be too hastily assumed that his model – while it clearly raises very central issues of representation as such – is in any way easily vitiated by the conventional poststructuralism critiques of the “ideology of representation” or mimesis. The cognitive map is not exactly mimetic in that older sense; indeed, the theoretical issues it poses allow us to renew the analysis of representation on a higher and much more complex level”, in Fredric Jameson, Postmodernism or The Cultural Logic of Late Capitalism, 1991.
The problem of representation and the construction of ideology in society, make us refer to Lacan diagram of building social imaginary. The problems of signification in contemporary society can be resignified under the assimilation of the process of virtualization the real, instead of realizing the imaginary. This simulation, concept used by Baudrillard, implies the increasing of computerisation, a loose of humanism and the neoliberals’ policies. Under the categorisation of the mapping it is assumed the general representation of states, first under colonialism in Mercator map 1490. After determining problems of visualization, Buckminster Fuller reproduces Dymaxion 1980, trying to solve curves problems and new more accurate representation of world state relations. Moreover, by the last years, it is being re-center the representation of world map, visualizing Japan and America as the new center of economical and political relations. This new visualization of world map relations builds the ideological and process in history relations and narratives. Marx, Althusser and Lacan influences in postmodernism and human sciences of Jameson and Holmes, also received the linguistic theory and semiotics by Pierce. The image index is a sign with the possibility to code the meaning of the concept under one image and language use. It is a mode commonly used in news and also can be described as diagram or map.
The poetics of landscape, considering cartography among others, could be exemplified by the figure of Flaneur caracterised by Ennui. Also Situationism, Psicogeography from Baudelaire to Debord are the references for the global community and the determination of the laws of urban space. The inheritance of the Situationist International builds a new figure, not the flaneur, but the Psicogeos, based in Anti-militarism, ecologism and human rights.
There is another discipline in cartography, considering not only maps but also diagrams, which to build up History and History Diagrams as Barr did in its vanguard diagram.

ICONOCLASISTAS http://iconoclasistas.com.ar/
Organize the pessimism is not other thing but transport strength from politics to moral metaphor and discover the resistance activism in the field of images, Walter Benjamin. Considering communication as a political practices using any graphical resources oriented to stablish ruptures in significations as a form of resistance and influences in social imaginary, but also as a proposal for change and tool of transformation.

ALICE CREISCHER Cartography of control
Alice Creischer (* 1960 Santa Fe, Argentina) works with Andreas Siekmann (* 1961 Hamm, Germany). Both live in Berlin and Buenos Aires. This Video projection and collage issues the marked on a piece of a map of Buenos Aires (an area along the heavily polluted river Riachuelo): centers of economic power, acts of military repression, places of warlike conflicts, militarized zones, US military bases. It is also accompanied with a video projection playing on the side of the wall.

ROTOR http://rotorrr.org/
Rotor is in the process of constant self-definition. It becomes the dynamic part of an engine made up of people from different ambits, working together and sharing their knowledge. In Rotor there’s always the chance to play decoding the chains of information and creating a new system of signs and valuation having to do with both, personal conditions and locations. It offers the possibility to take part in the process of creating the rules of the game. Rotor explorations are divided into three different phases: terrestrial phase, aerial phase and aquatic phase. Terrestrial phase: Ground operation // Olympic Games // Adventurous explorations // Safaris // Short cuts // Cartography

BUREAU D’ETUDES http://bureaudetudes.org/
“The Paris-based artists Léonore Bonaccini and Xavier Fourt form the artist-duo Bureau d´études. For the last several years, the French Group has been producing cartographies of contemporary political, social and economic systems. The visual analysis of transnational capitalism is based on extensive research and usually is presented in the form of large-sized murals. ‘Governing by Networks’, a chart produced in 2003, visualizes the mutual involvements and dependencies within the global media conglomerates. Revealing what normally remains invisible and contextualising apparently separate elements within a bigger whole, these visualizations of interests and cooperations re-symbolize the unseen and hidden.”

HACKITECTURA http://mcs.hackitectura.net/tiki-index.php
Composed by Pablo de Soto, Sergio Moreno Páez and Jose Perez de Lama (aka osfa), hackitectura.net is a group of architects and programmers developing projects and theoretical research in the intersecting field of space, electronic flows and social networks. Hackitectura.net stresses the use of real time communication, free software, collaborative work and the emancipatory use of technologies.
Their work has dealt with the creation of connected, participatory public spaces and infrastructures, including projects such as Indymedia Estrecho (2003-present; in collaboration with a wide network of social movements in Southern Spain and Northern Africa), La Multitud Conectada (Huelva 2003), Fadaiat (a transborder medialab and event between Tarifa and Tangier, 2004 & 2005), Geografías Emergentes (Extremadura, 2007), Situation Room (Laboral, Gijon, 2008) and GISS (2005-present; a global freesoftware videostreaming server network by Sergio Moreno and GISS team).

Creative Commons Licence
mapping databases by laura plana gracia is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Based on a work at lauraplanagracia.blogspot.com.
Permissions beyond the scope of this license may be available athttp://lauraplanagracia.blogspot.com/index.html#5338809143415425625.

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About Andreia Sofia Paixao

I’m an architect but at the moment I’m doing a PhD in the “Architecture of Contemporary Metropolitan Territories” at the University Institute of Lisbon (ISCTE-IUL). I have worked teaching children in a primary school, in performance studies and as a production assistant in dance and events on ecological themes. PhD Researcher _ Architecture / Contemporary Dance / Permaculture My research is situated at the intersection of architecture, landscape architecture, public art and urban development.

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