The program of the workshop entitled “Cartographier les récits : enjeux méthodologiques et technologiques” (organised by the commission on Art & cartography) that will take place in Montréal (May 12-13, 2014) is now available online: http://www.acfas.ca/evenements/congres/programme/82/300/310/c
The idea of producing a short film on cartography and narrative started in June 2012 during a workshop in ETH Zurich, and is now shaping up nicely. Artists and filmmakers have been working in collaboration with Barbara Piatti and others and have just released the trailer for this experimental short-film.
The project is a mockumentary suggesting a secret research in the dark dungeons of ETH Zurich. One of Switzerlands most important cartographers, Prof Ed Imhof went out for an expedition into the Peruvian Andes, to measure some mountains. However, during his excursion an event unforeseen must have occurred and he started to question the role of cartography for the people…
To learn more about this amazing cartographic story, WATCH THE TRAILER
This colloquy is organised by the art and cartography commission. All the presentations and discussions will be in French since it is part of the “Association canadienne-française pour l’avancement des sciences.” For questions, please contact firstname.lastname@example.org
Cartographier les récits : enjeux méthodologiques et technologiques
82e congrès de l’ACFAS, Université Concordia, Montréal (QC) / 12-13 mai 2014
Colloque organisé par Sébastien Caquard (Université Concordia) et Thierry Joliveau (Université J. Monnet de Saint-Etienne)
Appel à communications
Depuis les travaux fondateurs de Franco Moretti (1999) en cartographie littéraire, il est apparu possible de cartographier des objets aussi porteurs de subjectivité que des personnages de roman. De la carte du Tendre que Madeleine de Scudéry adjoint à son roman en 1654 au Discours sur les passions de l’amour qui sous-titre le Guide psychogéographique de Paris de Guy Debord en 1957, on repère une nécessité de cartographier des affects et des sentiments, d’organiser spatialement des récits personnels, qu’ils soient fictionnels ou non. L’apparition des outils numériques et les moyens de géolocalisation semblent changer techniquement la donne. L’engouement pour les activités dites néogéographiques s’est accompagné de la mise à disposition d’un nombre croissant d’applications sur Internet spécialement dédiées à la cartographie des récits (ex. http://storymaps.esri.com; www.tripline.net; http://mapstory.org/). Un internaute peut désormais recourir à ces outils pour spatialiser toutes sortes de récits qu’ils soient fictionnels ou documentaire, individuels ou collectifs, présents ou passés, anecdotiques ou symboliques. Un premier examen des récits cartographiques produits avec ces outils confirme l’inadaptation de la cartographie conventionnelle (numérique ou non) pour représenter les dimensions sensibles des récits. La projection sur un fond topographique et le respect de l’espace euclidien apparaissent souvent réducteurs. De nombreux auteurs proposent donc de se tourner vers des modes d’expressions cartographiques alternatifs, souvent inspirés de pratiques artistiques, pour représenter les dimensions émotionnelles, politiques et sociales de certains récits.
L’objectif de ce colloque est de permettre aux chercheurs en sciences sociales, aux artistes, journalistes ou communicants intéressés par la cartographie des récits de prendre connaissance des récents développements technologiques, conceptuels et méthodologiques qui ont émergé depuis quelques années dans ce domaine. Ces présentations de projets et retours d’expériences seront accompagnés d’échanges et de discussions visant à apporter des éléments de réponses à certaines des questions auxquelles est actuellement confrontée la cartographie des récits. Quels sont les atouts et limites des approches numériques pour une cartographie du sensible ? Les nouveaux capteurs permettant l’enregistrement automatique et objectif d’éléments de récits ouvrent-ils un espace à une expression personnelle des affects et de l’émotion ? Quelles sont les potentialités offertes par les approches cartographiques artistiques ? Comment jongler cartographiquement entre un espace abstrait et imaginaire et un espace concret et topographique ? C’est autour de ces questions méthodologiques, technologiques et conceptuelles que nous proposons de structurer ce colloque.
Soumission des propositions de communications :
Ce colloque est ouvert aux chercheurs, étudiants, artistes et professionnels intéressés à présenter leurs travaux relatifs à la cartographie des récits. Toutes les personnes intéressées sont invitées à soumettre un résumé (500 mots maximum) décrivant clairement le projet. La date limite de soumission des résumés est le 31 janvier 2014. Les résumés doivent être envoyés par courriel aux deux co-organisateurs du colloque : email@example.com et firstname.lastname@example.org
Note : une version courte des résumés retenus devra être envoyée par la suite pour être intégrée dans le programme officiel du colloque.
- 23 Décembre 2013 : Diffusion de l’appel à communication
- 31 janvier 2014 : Date limite de soumission des résumés par les participants
- 15 février : Notification de l’acceptation (ou non) des propositions soumises
- 20 février : Soumission des versions courtes des résumés (1,500 caractères, espaces inclus) par les participants
- 28 février : Soumission du programme complet du colloque par les organisateurs
- 12-13 mai : Tenu du colloque (note : le colloque se tiendra sur un ou deux jours dépendamment du nombre de communications retenues).
N’hésitez pas à nous contacter si vous avez besoin d’informations complémentaires.
Thierry Joliveau et Sébastien Caquard
The book entitled “Locating the Moving Image: New Approaches to Film and Place” edited by Julia Hallam and Les Roberts has just been released. It includes 11 chapters exploring the relationships between films and places through maps from a variety of perspectives. This truly interdisciplinary project provides an extensive overview of the ways scholars in film studies, geography, cartography, history, and communication studies have mapped films.
Topics include cinematic practices in rural and urban communities, development of cinema by amateur filmmakers, and use of GIS in mapping the spatial development of film production and cinema going as social practices.
The Art & Cartography commission will be quite active during The 26th International Cartography Conference (ICC 2013) which is starting in Dresden (Germany). We are organizing a few events:
– A pre-conference workshop on Maps and Games (in collaboration with the Maps and Society Commission), including a Playground Gaming Session on August 25th, 2013 at 13:30 (TU Dresden)) (More details here);
– A few paper sessions on Arts & Cartography (see full programme of the conference);
– The first screening of our collective film entitled “MDMD – A Multi Dimentional Mapping Device” on Wednesday August 28th, 2013 at 12:15 (hall 1)
– The business meeting of our commission on Tuesaday Aug. 27th, 2013 at 14:45 (room C5).
– And more…
This fascinating cartographic project aims to allow asylum seekers to develop personal maps of their migration experience. This project started with the frustration of Sarah Mekdjian, a geographer from Université de Grenoble (France), “to see maps where migrants were reduced to basic arrows” (although on the same thematic of migration, Philippe Rekacewicz has developped some interesting cartographic representations, including some with basic arrows…). Anyway, she decided to organize some workshops of creative cartography with another colleague geographer, three artists and 12 asylum seekers. The goal of this project: “To open a space of exchange with the migrants. Not only through interviews, but in a different way than the administrative questioning migrants are systematically exposed when seeking asylum. To tell things through different means, more creatives. To not just tell the facts – where were you, at which moment, at what time – but to develop a more emotional approach” (translation mine).
To some extent, this project reminds me the project of “cartographie sensible” by Else Olmédo.
Merci Violaine pour m’avoir aiguillé vers ce projet!
A first outcome of the Narrative Cartography workshop organized in June 2012 at ETH Zurich by the Art and Cartography commission is a curated film by Matthew Bissen, Paul Ritchard and Laurene Vaughan. This film entitled “Narrating Place” is an international collaboration that currently combines 21 short movies of 45 seconds each:
Here is for instance the contribution of Taien Ng-Chan entitled “Streets of the Saints“
“The aim of Narrating Place is to explore through a series of 45 second video pieces, a diversity of ways of narrating the experience and representation of place. The phenomenon of place is a rich concept rooted in how we perceive and conceive our environment. This is a concept which deserves continual critical and exploratory work to develop ways to understand how, through spatial and subjective experience we narrate a particular place. Individuals were invited to contribute to this work based on the curatorial team’s knowledge of their work and interest in the subjective representation of place. The invited participants come from the Americas, Europe and Australasia. The outcome is this rich mix will result in a unique commentary on and contribution to the affective cartographies of place.” (http://narratingplace.info/?page_id=87)
The film, edited by Paul Ritchard, is currently screened at RMIT in Melbourne Australia (until the end of May 2013), then it will be screened at the International Cartographic Conference in Dresden (Germany) in August 2013.
A Workshop + A Playground gaming session convened by the Maps and Society + the Arts and Cartography Commissions of the International Cartographic Association
Game Studies emerged as a discipline in parallel with the growth of videogaming in the 1980s (see Salen and Zimmerman 2004) and by 2012 the gaming industry had a global turnover of around US$65 billion. Maps play a very significant role in many different game genres. From puzzles, to shoot-em-ups, to mazes, quests, sport sims, strategy-based war-games, urban games and geo-caching, mapping represents a largely unquestioned backdrop, but often also delivers a central and active role in game play. From Risk to World of Warcraft, from Harvey Mazzles to street games, from Microsoft Golf, to RunZombieRun mapping matters in game play. However to date the nature of mapping in games has been significantly under-researched.
The need for further research is amplified with the shifts to digital and mobile-based gaming. Geospatial technologies are now guiding players throughout cities that have became game boards. These in site games are redefining the function and the meaning of maps in gaming activities. This dynamic context calls for sustained and critical interest. This workshop focuses upon different sites, and mapping practices enrolled in gaming, exploring the significance of technological change, the cultural significance of mapping and gaming, and the aesthetics and politics of maps in games, and games in maps. Ways of understanding spatial relations implicit in gaming have also shifted over this time, and offer a challenging field for researchers.
We invite critical papers that focus upon amongst other issues:
- The design of maps as game boards
- The links between mapping and different game genres
- Historicizing the changing relationship between games and maps
- The role of the map interface in structuring game-play
- The performative nature of mapping in game play
- The mapped relations between the world and the game
- The nature of fantasy and imagination in the construction of mapped games
- The affect of mapping in games
- Mobile apps and map game interfaces
- Map puzzles
- Mapping and augmented reality games
Abstracts (250 words) should be emailed to email@example.com by 30th April 2013
The workshop is scheduled for Sunday 25th August afternoon and is accompanied by a Playground gaming session organized by Invisible Playground (Note: all the participants of the workshops will automatically be registers to the gaming session)
Invisible Playground is a collective of young Berlin-based artists, game designers and academics. Founded in 2009, Invisible Playground makes site-specific games of various sizes and formats. Drawing from a broad range of influences ranging from experimental musical theater and performance art to video games, the collective develops playful experiences that grant participants entry onto the invisible playgrounds they walk across every day without noticing. Its approach to mapping is closely connected to the notion of site-specific games. A game is site specific if the rules of the game are inspired by and merged with the rules of urban life at a certain site. Hence the game design process often includes mapping of urban dynamics, architecture, infrastructure and stories. In some cases maps are handed out to players during the games for example to help them navigate, to define the boundaries of the playing field or to assign certain rules of movement and interaction to certain locations on the playing field. At the Workshop on Maps and Games, Invisible Playground will offer a game session with a game that is adopted for the Workshop-site and involves map use. The session will also include a short introduction of other relevant projects of Invisible Playground and discussion. Number of players: ca 20 players, playing time: TBD, outdoor location.
As described in our previous post we are seeking academic and artistic contributions to be published in two special issues of two academic journals on the relationships between maps and narratives. One will propose a cartographic perspective on the relationships between maps and narratives. It will be published in The Cartographic Journal and co-edited by Sébastien Caquard and William Cartwright (for more details see the call for papers).
The other one will focus on the artistic points of view of the relationships between narratives and cartography. It will be published in NANO – New American Notes Online (issue 6) and co-edited by Laurene Vaughan and Matthew Bissen. NANO is a peer-reviewed online journal capable of publishing a full range of media and designed to encourage new interpretations and new possibilities. We are particularly interested in submissions that explore and articulate representations of place via narrative structures, especially the different ways such places and structures are recorded, communicated, and critiqued. We invite submissions that address forms of these two broad questions: how do narratives traverse through a “somewhere”? And, equally important, how are real and imagined places narrated? Acceptable formats, sizes and lengths are listed below.
Deadlines concerning the special issue to be published in NANO:
– Jan. 28th, 2013: Call for papers
– Jun. 28th, 2013: Deadline to submit full papers & works to Laurene Vaughan (firstname.lastname@example.org) and Matthew Bissen (email@example.com)
– Aug. 30th, 2013: Comments sent by the editors to the authors
– Oct. 18th, 2013: Final version of the papers & works submitted by the authors to NANO for the review process (For the detailed instructions to the authors, please look at the web site of NANO: http://www.nanocrit.com/~nanocrit/submissions-information/)
– Nov. 15th, 2013: End of the review process
– Jan. 31st, 2014: Final versions of the selected papers sent by the authors to NANO
– May 2014: Publication of the special issue in NANO
(This will coincide with the publication of work in the parallel issue on Cartographies and Narrative in The Cartographic Journal)
Format Guidelines concerning the special issue to be published in NANO:
Papers with images –3,500 words maximum; 15 images maximum in high resolution—JPEG format preferred
Film Shorts –5-10 minutes maximum using .mov, .mp4, or .wmv formats
(min res = 426 x 400, max res 1920 x 1080)
Sound Essays – 10 minutes maximum using .mp3 encoding at bitrates above 256 kbit/s (preferred)
Electronic submission preferred. Text submissions should be sent as an email attachment using MS Word (doc.) or Rich Text Format (.rtf). Refer to the list above for multimedia submissions. Do not include your name on the attached document, but do include your name and the title of your note in the body of your email. All manuscripts should follow MLA guidelines for format, in-text citations, and works cited. Please send any questions that you have to Laurene Vaughan (firstname.lastname@example.org) and Matthew Bissen (email@example.com).
Copyright and Permissions:
NANO expects that all submissions contain original work, not extracts or abridgements. Authors may use their NANO material in other publications provided that NANO is acknowledged as the original publisher. Authors are responsible for obtaining permission for reproducing copyright text, art, video, or other media. As an academic, peer-reviewed journal, whose mission is education, Fair Use rules of copyright apply to NANO. Send questions to the editor.
We would appreciate it if you could inform us in February if you plan to submit a paper or work to one of these special issues.
Please feel free to contact Sébastien Caquard or William Cartwright concerning The Cartographic Journal, and Laurene Vaughan and Matthew Bissen concerning NANO.
Please remember that the deadline for submitting papers and abstracts for the 2013 International Cartographic Conference in Dresden (Germany) is November 1st (very soon…). During this conference, the art & cartography commission aims to organize several paper sessions, as well as different art related activities such as the screening of a movie on cartography and narrative (the movie is currently under production). We hope to meet a broad range of people interested in the relationships between art, culture and cartography.