Gall-Peters projection // World Map
a rectangular map projection that maps all areas such that they have the correct sizes relative to each other. Like any equal-area projection, it achieves this goal by distorting most shapes
Bruno Latour: Why Gaia is not the Globe
interview!!!!!!
interview!!!!!!
formulate questions
LAND
"Map of the Track of Yu Gong" in stone in Shaanxi, China, 1137
GRID
cartography as embodiment of capitalism
Field work as a method
gaining embodied knowledge
Deconstructing Persuasive Cartography
influence opinions or beliefs, sending a message rather than communicating geographic info
rhetorical / suggestive mapping
watching someone unfold a map, use that map as a guide
-> we believe in the truth and accuracy of the map
eco-, nature-, aura-, environment- futurism
Cartography of the globally urgent rise of the return to LAND
The speculative futures of the LAND in the wake of centuries of ownership
humanity 'othered' the LAND and Nature and dichotomized itself from the LAND and their surroundings
futurism reinvented through the eyes of the LAND
embrace the clichés of the nature-culture division (?)
tapping into our primal understanding of the necessity of nature (?)
Flora guidebook from the perspective of a fictional explorer/researcher/scientist.
eco-futurism
the earth
living in a symbiotic relationship with natural systems
technological advancements to supercharge that
the way that we're headed --> amount of climate deniers will decrease
natural evolvement towards
the earth itself as a spaceship
virtual reality
-> see/feel/experience other space
technological advancement as part of nature too
for the last 200 years of industrialization, we've lost the idea that we're embedded in the landscape because we've created all kinds of walls/machines/climate controls that insulate us from the realities of the physical world outside.
our control is fragmented
taking natural environment with us into the future
Q
basing this imagination of the future on aesthetics and philosophies of technological advancement and automation. Embracing the clichés of Chinese tradition, Do you think that will walls/machines/climate controls that insulate us from the realities of the physical world outside.in any way forms a wall or illusion
My focus tends to always drift towards landscapes and land-based traditions, but do you think
Because I also feel like in Chinese cultural tradition, nature plays such an important role in the arts. Or is that an orientalist way of looking at it?
is Chinese model of efficiency itself not a result of a oriental view on their economy?
what is the say of the individual? - captive labour
capital and commodities move freely, about is the only aspect within neoliberal globalisation that is fixed or place-based.
objectifying workers
Terra as a global sense of inhabiting earth, a consciousness of land.
critical optimism
all of these futurisms are minority movements which share an optimism about speed, velocity, and the future as a means to subvert the institutions of the present
the landscape does not 'other' us
cartography narrated through the p.o.v. of the land itself
TERRA
Wageningen University
Forest and Nature Conservation
political, social-economic and cultural dimensions of forests and nature
deforestation, forest transitions, climate change, biodiversity conservation and landscape management
Edward Said On Orientalism, 1998
Neoliberal Globalization
- regulations decrease
- self-interest increases
- society of self-maximisers
- borders should be opened/everyone should move freely
- capital should be able to move freely
- sense of locality decreases
- SPECULATION
- captive labour
Video Essay as a medium
choosing
Verwondering over de natuur en affectie voor haar schoonheid kan snel omslaan in de menselijke drang om landschappen te bemachtigen en de natuur naar eigen hand te zetten.
De resulterende culturele ingrepen in het landschap gaan op hun beurt weer gepaard met menselijke pogingen om de natuur juist de natuur te laten. Beide houdingen jegens de natuur gaan uit van een scheiding tussen cultuur en natuur.
Het overbruggen van deze dichotomie is voor steeds meer mensen een doel. Het is als een queeste, naar een balans tussen afstandelijke observatie en disrespectvolle exploitatie van het landschap.
Ook in de kunst heeft de natuur enerzijds een rol als studieobject, en anderzijds een functie als materiaal en ruimte die kan worden bewerkt. Hierbij staat de natuur vaak op een voetstuk, maar tegelijkertijd ondergeschikt aan de vervormende expressies van de kunstenaar.
Wellicht maakt de ruimte tussen het kunstatelier en de natuur een gelijkwaardige samenwerking mogelijk tussen de kunstenaar en het landschap. Deze ruimte kan al ontstaan wanneer een kunstonderzoek zich buiten afspeelt, maar ontspruit ook wanneer de kunstenaar de natuur uitnodigt in het atelier. Het atelier biedt in dat geval ruimte waarin niet alleen de kunstenaar, maar ook de natuur zonder waardeoordeel van buitenaf haar gang kan gaan.
De kunstenaar die het atelier deelt met de natuur, denkt in termen van verbanden en kringlopen, beweegt met ecologische transformatieprocessen mee, én staat een deel van het auteurschap als maker af aan het landschap.
Als dit zou leiden tot een mutualistische symbiose tussen de kunstenaar en zijn omgeving, zou het afstaan van auteurschap in bredere zin dan leiden tot een betere balans tussen mens en natuur?
‘Ecocentric Cartography & Terrafuturism’
As people step into a landscape, name it, and map it out, they gain a sense of ownership over it. while cartography - as a form of art - has the potential to bring people closer to the landscape, maps are mostly used as an expression of the human authority over spaces.
Maps are inherently distorted; depending on the mapmaker's position and motivations. The transformation of spherical space create lines that draw through uncountable forms of symbiosis. What happens if geographical cartographies' authorship is transmitted to the landscape itself?
Further explaining the notion of ‘ecocentric cartography’, I hope to describe a shift towards nature-inclusive maps, in which nature is not only the main subject, but as the narrator. A return to nature as a compass.
"Maps give us seven-league boots – allow you to cover miles in seconds. Using the point of a pencil to trace the line of an intended walk or climb, you can soar over crevasses, leap tall cliff-faces at a single bound and effortlessly ford rivers. On a map the weather is always good, the visibility always perfect. A map offers you the power of perspective over a landscape: reading one is like flying over a country in an aeroplane – a deodorized, pressurized, temperature-controlled survey. But a map can never replicate the ground itself. Maps do not take account of time, only of space. They do not acknowledge how a landscape is constantly in move – is constantly revising itself. There are dimensions of a landscape which go unindicated by the map."
Walking off the Map from Mountains of the Mind, Robert Macfarlane