Fascinating virtual art project by James Bridle who developped an application to map the virtual journey of a real ship – which is actually a ship put on the top of a building in London as an art installation – based on meteorological condition(1).
In this video, the specific description of the project starts at 9:25. You can also find more info about this project here: http://booktwo.org/notebook/a-ship-adrift/
Thanks to Diana for pointing out this project.
(1) If I understood properly the project, there is a small issue in the narrative since the drifting of the boat depends on meteorological conditions that are measured in London while the boat is virtually crossing Europe where meteorological conditions might be different…
I bumped into the work of David Maisel thanks to the exhibition called Subverted, in the Ivorypress art gallery in Madrid (until 14th April). Wonderful big photographs, many of them related to cartography and map making.
David Maisel. Terminal Mirage 5
In David Maisel’s website can be read: “Maisel’s aerial images of environmentally impacted sites explore the aesthetics and politics of open pit mines, clear-cut forests, and zones of water reclamation, framing the issues of contemporary landscape with equal measures of documentation and metaphor.”
Don’t miss The Mining Project (1987- 2007), Oblivion (2004 – 2006), Terminal Mirage (2003 – 2005), The Lake Project (2001 – 2002), The Forest (1985 – 1986) and Mount Saint Helens (1983 – 1984).
I strongly recommend to have a look to these Mathematical Mountains discovered in this webpage, But Does it Float. About them, their creator, Steven Brunton explains:
These images are excerpts from the bifurcation diagrams of various one-dimensional maps (…). Each of these dynamical systems model various physical phenomena in the real world. For example, the logistic map is a crude model of population dynamics with reproduction and limited resources, and it is often used as an example of the period-doubling route to chaos. Typical of chaotic systems, many regions in these figures exhibit self-similarity and reflect the order that emerges outof chaos.
These images were generated numerically by iterating the discrete-time maps above as a bifurcation parameter is varied. The bifurcation parameter is plotted as the y-axis (elevation), and at each elevation, the stratified layer represents the attracting set of the dynamical system for that particular choice of bifurcation parameter. Bifurcation refers to a qualitative change in the behavior or topology of a dynamical system as a parameter is varied.
Recently the Guggenheim Museum in Bilbao, bought a work of Mona Hatoum, interesting Lebanese artist raised in UK. This artist is multifaceted in the sense that she has worked a variety of disciplines including installation, sculpture and performance. Maps have been widely used in different formats in many of her workpieces. Just type in Google Maps Mona Hatoum to check it out.
(From wikipedia) Mona Hatoum (born 1952 in Beirut, Lebanon) is a video artist and installation artist of Palestinian origin, who lives in London. Mona Hatoum was born in Beirut, Lebanon to Palestinian parents in 1952. Although born in Lebanon, Hatoum does not identify as Lebanese. “Although I was born in Lebanon, my family is Palestinian. And like the majority of Palestinians who became exiles in Lebanon after 1948, they were never able to obtain Lebanese identity cards.”
Lately I’ve liked these maps called “3D Cities”: Regular ordinance survey maps, their two-dimension modified by a number of geometrical cuts forming paper depressions and elevations. We do not know what they signify, although we can guess that these are probably localized spots of violence.
Image from http://personal-geographies.blogspot.com
Mona Hatoum 3d Maps
Here you are a video by Tate Britain, “Mona Hatoum, studio visit.”
In his “Collaborative Landscape” project, artist Flynn O’Brien proposes to participants to create their own “walking maps.” This project was recently started in order to create an on-going series of landscape images through a collaborative process between Flynn O’Brien and participants from around the world. Using a process that Flynn created and transcribed in a manual (Landscape Manual
), the participants are asked to follow a series of steps in objectively collecting photographic information while also making subjective choices along the way in the creation of a final image.
While a number of subjective choices are made by the participants throughout the collaborative process, a strict set of rules are adhered to, creating a common visual language between images. Through this common language, the participant’s relationship with that environment is defined by their experience within that space. The goal of the project is to continue to expand the number of participants, in order to further define this field of exploration.
Image : Emmanuelle Jacques, 2011
If you are in Montréal in October, there is an interesting series of mapping activities that are going on at the gallery Articule (actually the activities started in September…).
In a series of workshops held at the centre, participants will be encouraged to reflect on notions of social cartography –socio-demographics, urban development, the places we reside in and appropriate, places of memory, places not represented by traditional maps. The aim of the project is to inspire people to think creatively about cultural and artistic spaces, what they represent in daily life, and what the notion of neighbourhood means today.
Even if you missed it this year, you might be able to psrticipate next year since this is supposed to be a yearly activity.
Thanks to Cecilia Chen for point me to this art and community mapping activity.
The book “Mapping Environmental Issues in the City: Arts & Cartography Cross-Perspectives” has now been published by Springer. This book compiles the different contributions from the workshop that we (the commission on Art & Cartography) organized in Montreal in September 2010. We would like to thank all the persons who have contributed to make this project happen.
This book complements the growing body of literature exploring the relationships between arts and cartography . It is distinct from the previous ones by its main focus: The multiple ways of representing a database. In the context of the exponential increase of the volume of geospatial data available, addressing this issue becomes critical and has not yet received much attention. Furthermore, the content of the database – environmental issues in the city – gives a strong social and political texture to the project.