Archived entries for maps

Mapa para Tentativas para agotar un espacio (Tabacalera 2017)

photo_2017-11-30_19-10-15 (2)

Tentativas para agotar un espacio.
Tabacalera Promoción del Arte.
01.12.2017 / 04.02.2017

La balsa de la Medusa

11 Raft_of_Méduse-Alexandre_Corréard-IMG_4788-cropped

[Estado de la embarcación en el momento del rescate. De la "Relation complète du naufrage de la frégate La Méduse faisant partie de l'expédition du Sénégal en 1816 par Alexandre Correard, H. Savigny, D'Anglas de Praviel et Paul C.L. Alexandre Rand des Adrets (dit Sander Rang)".]

Spatial Poems by Shiomi Mieko

Spatial Poem No. 1

“Starting in 1965, Shiomi Mieko conducted a series of nine events that she called Spatial Poems. Each one began with an invitation to a large number of friends and colleagues to respond to a simple instruction, which often took the form of an intimate action poem that anyone could perform. The responses she received in the mail would then constitute the work. In 1975, Shiomi published a booklet documenting the nine Spatial Poems and including a collection of responses to each of these works. The accumulated responses give a glimpse of the wide network of artists who were connected through Fluxus activities, from those engaged in the eclectic arts and letters scene in New York City’s downtown to artists located in Tokyo, Łódź, Montevideo, and New Delhi.”

via Spatial Poems by Shiomi Mieko & Kayla Anderson



Monster soup commonly called Thames water, William Heath (1828)

Monster soup commonly called Thames Water


Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal.

If once we were able to view the Borges fable in which the cartographers of the Empire draw up a map so detailed that it ends up covering the territory exactly (the decline of the Empire witnesses the fraying of this map, little by little, and its fall into ruins, though some shreds are still discernible in the deserts – the metaphysical beauty of this ruined abstraction testifying to a pride equal to the Empire and rotting like a carcass, returning to the substance of the soil, a bit as the double ends by being confused with the real through aging) – as the most beautiful allegory of simulation, this fable has now come full circle for us, and possesses nothing but the discrete charm of second-order simulacra. Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the territory – precession of simulacra – that engenders the territory, and if one must return to the fable, today it is the territory whose shreds slowly rot across the extent of the map. It is the real, and not the map, whose vestiges persist here and there in the deserts that are no longer those of the Empire, but ours. The desert of the real itself. In fact, even inverted, Borges’s fable is unusable. Only the allegory of the Empire, perhaps, remains. Because it is with this same imperialism that present-day simulators attempt to make the real, all of the real, coincide with their models of simulation. But it is no longer a question of either maps or territories. Something has disappeared: the sovereign difference, between one and the other, that constituted the charm of abstraction. Because it is difference that constitutes the poetry of the map and the charm of the territory, the magic of the concept and the charm of the real. This imaginary of representation, which simultaneously culminates in and is engulfed by the cartographers mad project of the ideal coextensivity of map and territory, disappears in the simulation whose operation is nuclear and genetic, no longer at all specular or discursive. It is all of metaphysics that is lost. No more mirror of being and appearances, of the real and its concept. No more imaginary coextensivity: it is genetic miniaturization that is the dimension of simulation. The real is produced from miniaturized cells, matrices, and memory banks, models of control – and it can be reproduced an indefinite number of times from these. It no longer needs to be rational, because it no longer measures itself against either an ideal or negative instance. It is no longer anything but operational. In fact, it is no longer really the real, because no imaginary envelops it anymore. It is a hyperreal, produced from a radiating synthesis of combinatory models in a hyperspace without atmosphere.

via Jean Baudrillard – Simulacra and Simulations – I. The Precession of Simulacra, translated by Sheila Faria Glaser.

David Gissen and a new aestheto-cartographic narrative for architecture

“Architecture’s Geographic Turns,” which was great fun to write, ends with a proposition: What if architects stopped turning to geography as a source from which to interpret the world empirically, and instead projected concepts of architectural thought into cartographic worlds? In other words, what if they rewired the historical relation between these fields and architecture entered a new aestheto-cartographic narrative…

via David Gissen / HTC Experiments.

The Chapter: A History

Fielding’s older brother, the novelist Henry Fielding, had already, in “Joseph Andrews” (1742), explained “those little Spaces between our Chapters” as “an Inn or Resting-Place, where he may stop and take a Glass, or any other Refreshment, as it pleases him.” Chapter titles, Fielding proceeded to explain, were like the inscriptions over the doors of those inns, advertising the accommodations within.

Novels have always been good at absorbing and recycling, taking plots and devices from other genres and finding new uses for them. With the chapter, novelists began, in the eighteenth century, to naturalize an informational technology from antiquity by giving it a new cultural role. What the chapter did for the novel was to aerate it: by encouraging us to pause, stop, and put the book down—a chapter before bed, say—the chapter-break helps to root novels in the routines of everyday life. The chapter openly permitted a reading oriented around pauses—for reflection or rumination, perhaps, but also for refreshment or diversion. Laurence Sterne’s “Tristram Shandy” insisted that “chapters relieve the mind,” encouraging our immersion by letting us know that we will soon be allowed to exit and return to other tasks or demands. Coming and going—an attention paid out rhythmically—would become part of how novelists imagined their books would be read.

via The Chapter: A History, by Nicholas Dames

SUR Escuela: Mapas


L’espace commun est la trace de l’un dans l’autre

Les tentatives de Deligny, celles des Cévennes après celle d’Armentières, de la Grande Cordée, de La Borde, montrent que l’être-ensemble n’est pas le résultat d’une négociation, un objectif à poursuivre, par rapport auquel on va toujours trouver l’autre en défaut, et dans les derniers choix de Deligny dans un défaut radical, mais un être-là qu’on organise, qu’on constitue comme hypothèse de tous les petits outillages qu’on se donne pour le mettre en œuvre. Dans cet être-là, être-ensemble, il n’y a aucune réciprocité exigible a priori de l’autre seulement, aucune condition. L’être-là humain est une inconditionnalité, sans appartenance, mais capable d’alliance au sein du réseau. L’espace est fait de tourbillons pour l’un et de technologies de vision pour l’autre, et l’espace commun est la trace de l’un dans l’autre, la condition de l’accueil de l’un par l’autre, de la vie en commun, de la constitution du réseau. Leur société n’est pas transparente, ni à eux, ni aux autres ; les visions, les pratiques communes sont partielles, au sein du nous dans lequel évolue le réseau.

via Fernand Deligny, imager le commun
Anne Querrien dans multitudes

they carried in their head images of the spread of islands over the ocean and envisioned in the mind’s eye the bearings from one to the other in terms of a conceptual compass

“The navigational practices of Oceanians present somewhat of a puzzle to the student of the history of cartography. Here were superb navigators who sailed their canoes from island to island, spending days or sometimes many weeks out of sight of land, and who found their way without consulting any instruments or charts at sea. Instead, they carried in their head images of the spread of islands over the ocean and envisioned in the mind’s eye the bearings from one to the other in terms of a conceptual compass whose points were typically delineated according to the rising and setting of key stars and constellations or the directions from which named winds blow. Within this mental framework of islands and bearings, to guide their canoes to destinations lying over the horizon these navigators applied vital information ob- tained by watching with the naked eye the stars, ocean swells, steady winds, island-influenced cloud formations, land-nesting birds fishing out at sea, and other cues provided by nature.”

Finney, Ben. “Nautical cartography and traditional
navigation in Oceania.” The history of cartography:
cartography in the traditional African, American,
Artic, Australian, and Pacific societies 2

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