Cartograf�as Sensibles - La Ciudad como Interface

Abordajes Art�sticos en Contextos Urbanos.

Interfaces orientadas a la [post]localizaci�n urbana
Taller (1 semana) / Brian Mackern.

Un enfoque integral de planificaci�n, recopilaci�n y registro de material

sonorovisual, textual y gr�fico de trayectos que desarrollaremos en el entorno
pr�ximo para ser integrado dentro de una cartograf�a propia. Pr�ctica que contiene
en su interior todas las fases de un proyecto de desarrollo creativo dentro de una
zona definida por el cruzamiento entre entornos digitales y espaciales.
En este laboratorio se trabajar� sobre el imaginario personal y colectivo
polit�pico

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The City as Interface

Mapping the environment in unusual ways. The result will be creative maps of
Liverpool each with an individual take on the city as we know it.

- - -

Cartography or mapmaking, has been an integral part of the human history for a long
time, possibly up to 8,000 years.[1] From cave paintings to ancient maps of
Babylon, Greece, and Asia, through the Age of Exploration, and on into the 21st
century, people have created and used maps as essential tools to help them define,
explain, and navigate their way through the world. Maps began as two-dimensional
drawings but can also adopt three-dimensional shapes (globes, models) and be stored
in purely numerical forms.

The term cartography is modern, loaned into English from French cartographie in the
1840s, based on Middle Latin carta "map".

- - -

Shield of Achilles
The Shield of Achilles is the shield that Achilles uses in his fight with Hector,
famously described in a passage in Book 18, lines 478�608 of Homer's Iliad.
In the poem, Achilles has lost his armour after lending it to his companion
Patroclus. Patroclus has been killed in battle by Hector and his weapons taken as
spoils. Achilles' mother Thetis asks the god Hephaestus to provide replacement
armour for her son.
The passage describing the shield is an early example of ekphrasis (a literary
description of a work of visual art) and influenced many later poems

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The Ambassadors (1533) painting by Hans Holbein the Younger

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Psychogeography is an approach to geography that emphasizes playfulness and

"drifting" around urban environments. It has links to the Situationist
International. Psychogeography was defined in 1955 by Guy Debord as "the study of
the precise laws and specific effects of the geographical environment, consciously
organized or not, on the emotions and behavior of individuals." Another definition
is "a whole toy box full of playful, inventive strategies for exploring cities...
just about anything that takes pedestrians off their predictable paths and jolts
them into a new awareness of the urban landscape."
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SOUNDWALK
R. Murray Schafer in the late 1960s, Simon Fraser University.
The project initiated the modern study of Acoustic Ecology. Its ultimate goal is
"to find solutions for an ecologically balanced soundscape where the relationship
between the human community and its sonic environment is in harmony."
The practical manifestations of this goal include education about the soundscape
and noise pollution, in addition to the recording and cataloguing of international
soundscapes with a focus on preservation of soundmarks and dying sounds and sound
environments. Publications which emerged from the project include The Book of Noise
(1968) and The Tuning of the World (1977), both by Schafer, as well as the Handbook
for Acoustic Ecology (1978)[4] by Barry Truax.

The Tuning of the World

formalised the sound-scape terminology Schafer had devised during his field studies
with the WSP: background sounds he defined as �keynotes� (in analogy to music where
a keynote identifies the fundamental tonality of a composition around which the
music modulates); foreground sounds (intended to attract attention) are termed
�sound signals.� Sounds that are particularly regarded by a community and its
visitors are called �soundmarks��in analogy to landmarks. Natural examples of the
latter include geysers, waterfalls and wind traps while
cultural examples include distinctive bells and the sounds of traditional
activities.

- - -
Rodrigo Derteano

http://rodrigoderteano.com/en/nasca-city/

Intertextuality
M Gondry
Jean-Fran�ois Coen, La Tour de Pise
https://www.youtube.com/watch?v=VwhgMGhT-mQ

CLARA BOJ + DIEGO D�AZ : LALALAB

http://www.lalalab.org/guia-sonora-ciutat-vella/

lefthandrotation
Mauvaise foi, Mala Fe
Como todos los so�adores, confund� el desencanto con la verdad.
Jean Paul Sartre
CALLE DEL DESENCANTO
En el S.XII hubo en esta calle un port�n de piedra que alojaba la figura de un
cristo decapitado. La superstici�n hizo creer que aquel que cruzara dicha calle
caer�a en desencanto, expresi�n utilizada para referirse a la perdida de fe.
http://www.lefthandrotation.com/proyectos/mauvaisefoi/index.htm
http://vimeo.com/14030136

Archive-collection as mapping / ziplocs

Everything is Illuminated (movie)
garbage junky

earth to disk

tracing fire

Seismographer / Valeria

superpositions/fragmentation

measurements and registries

smells?

intermix culture areas

weather relationships
http://www.si.edu/tbma/saam_cloudmusic
santa rosa

time perception / timing

Paloma subte works bsas

antoni abad
barcelona accesible

https://anthology.rhizome.org/transborder-immigrant-tool
http://www.digitalhumanities.org/dhq/vol/7/1/000157/000157.html

Brian Mackern
http://netart.org.uy

Cartography or mapmaking, has been an integral part of the human history for a long
time, possibly up to 8,000 years.[1] From cave paintings to ancient maps of
Babylon, Greece, and Asia, through the Age of Exploration, and on into the 21st
century, people have created and used maps as essential tools to help them define,
explain, and navigate their way through the world.

Cascade on wheels / Steph Thirion

http://www.trsp.net/cow/

GPS drawing
Jeremy Wood Artist / Cartographer / Teacher
http://gpsdrawing.com/gallery.html

Infrasonic Soundscape / Hidekazu Minami

http://www.thejetty.org/thesis/
http://www.thejetty.org/thesis/project/index.htm

Dina Roisman / Le Fresnoy

http://www.toutesdirections.net/

http://www.space-invaders.com/

HIDEKAZU MINAMI
New York City's infrasonic soundscape
http://www.soundtoys.net/collection/legacy/2002/hidekazuminami/

INFLUENZA MARCHETTI RENNO

http://www.soundtoys.net/toys/mapa

Cascade on wheels / Steph Thirion

http://www.trsp.net/cow/

GPS drawing
Jeremy Wood Artist / Cartographer / Teacher
http://gpsdrawing.com/gallery.html

Fenlandia / Susan Collins

1px x sec
http://www.susan-collins.net/fenlandia

Heat and Heartbeat of the city / Andrea Polli

http://turbulence.org/Works/heat/index2.html

Volkmar Klien & Ed Lear / encendedores

http://www.traces-of-fire.org/
Traces of Fire
Volkmar Klien & Ed Lear
http://traces-of-fire.volkmarklien.com/

Jim Nachlin.
http://garbagescout.com/

soundtransit / holzer-kolster-boon
http://soundtransit.nl/
http://soundtransit.nl/book/

nerea calvillo /
http://intheair.es/tools/technical-description.html
http://intheair.es/tools/viz/digital-tool.html

Crawford
A Song of Our Warming Planet
https://vimeo.com/69122809

Jorge Macchi / Buenos Aires Tour

http://www.jorgemacchi.com/es/obras/30/buenos-aires-tour
https://vimeo.com/38517735

derive (1x6x4x1)
by Ricardo Greene
http://vimeo.com/1431407

medialab madrid / visualizar

http://www.laberintos.org/newgeographies/
http://www.visualcomplexity.com/vc/

http://garbagescout.com/

La deriva

no es una invenci�n enteramente situacionista. El Dada ya lo hab�a tratado como

visitas: ir a un lugar rand�micamente, leer textos de la enciclopedia Larousse al
azar y crear un momento de arte ef�mero. El Surrealismo tambi�n plantea la
deambulaci�n en la campi�a, partiendo de un punto fijo, caminando al azar por d�as,
alcanzando estados de fatiga ligados al estado del sue�o.
Los Situacionistas plantean la deriva como un juego, donde la ciudad se convierte
en un gran teatro, y se juega con reglas determinadas. Derivar como el t�rmino
n�utico lo indica es ir con la marea. Parten de la guarida de la IS en Paris y se
pierden en la ciudad, la cual tiene un perfil psicogeogr�fico. La ciudad est�
cargada de emociones y hay lugares donde es mas o menos f�cil entrar o salir sin
tomar en cuenta las trazas de la ciudad.
La reglas del juego son: partir de un lugar de a 2 o 3 personas en igualdad de
�nimo, la duraci�n de una jornada es la ideal, es v�lido tomarse un taxi con
indicaciones vagas, etc. Luego lo que queda de la deriva es un testimonio escrito.

Heredan del surrealismo el gusto por las partes oscuras de la ciudad, y con estas
derivas, Debord identifica fragmentos de ciudad con cierta coherencia,
archipi�lagos de barrios unidos por vectores. Estos vectores son la deriva de un
lugar a otro, que nos muestran la ciudad fragmentada. Esto queda plasmado en un
mapa The naked city.
La deriva pretende usar el tiempo de ocio para el juego y vivir la ciudad de una
forma distinta, subvirtiendo la mirada obvia.

Conceptos importantes dentro del situacionismo

* El Detournement habla sobre la posibilidad art�stica y pol�tica de tomar

alg�n objeto creado por el capitalismo y el sistema politico hegem�nico y
distorsionar su significado y uso original para producir un efecto cr�tico.
* La recuperaci�n habla sobre la posibilidad siempre presente de que ideas y
cosas revolucionarias o radicales puedan ser incorporados a las l�gicas dominantes
por medio de la comodificaci�n o la mera exposici�n vaciada de contenido.
* La deriva propone una reflexi�n a las formas de ver y experimentar la vida
urbana dentro de la propuesta m�s amplia de la psicogeograf�a. As� en vez de ser
prisioneros a una rutina diaria, se planteaba seguir las emociones y mirar a las
situaciones urbanas en una forma nueva radical.
* En la psicogeograf�a se pretende entender los efectos y las formas del
ambiente geogr�fico en las emociones y el comportamiento de las personas.
* La creaci�n de situaciones alude a una situaci�n construida como un momento
de la vida construido concreta y deliberadamente para la organizaci�n colectiva de
un ambiente unitario y de un juego de acontecimientos, es decir tanto la realidad
como los acontecimientos son fruto de una construcci�n previa minuciosamente
preparada por poderes f�cticos y no legitimada por los medios de comunicaci�n que
juegan un papel fundamental en la creaci�n de acontecimientos .
* La sociedad del espect�culo
* La revoluci�n de la vida cotidiana