1. Changing views:
There was a new perception in the 16th century. It was Pieter Bruegel's "Landscape with the Fall of Icarus" which turned the balance to more and more scientific atlases and maps.
He brought a new plural view into being, a synthesis of "site" and "non-site" (cf. Robert Smithson)
It was a real alternative to the idea of Leonardo Battista Alberti, which says that a picture allegorise "a window opened onto the world", a construction of a plateau. Standing on it, you got a typ of an nomadic view.
At one hand the map is the territory, like Jorges Louis Borges descripes in his short stories "Del rigor en la ciencia" 1946, at the other hand it is only an alternate.
The idea of the blank map, by Lewis Caroll is another utopia, the map as a model of an "in-between".
Current the view changed to a model of the virtual, a new typ of picture, an image-flux, which detaches the modernist, crystal image.
2. New Visibilities
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From medieval times to the present, the content of cartography changed. Whereas in medieval maps the whole world was centered around Jerusalem, in the 16th and 17th century, maps seized the real and became a mere artefact.
Alfred Dürer - map
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From then on, maps became diagrams with different possibilities of reading it. The diagram shows a Rhizome structure in which the reader get the chance to explore the diagram continuously and to evolve new thoughts beyond it.
Paul Klee - Siebzehn
Thus the diagram connects two different space times developed by Deleuze and Guattari in Mille Plateaux. The striated space (as the city, metric, with a hierarchic tree structure) and the infinite smooth space (as the sea, an open surface with no bounderies, just with connections and a rhizome structure).
tree structure Rhizom structure
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These diagrams with their rhizom structure and multiple possibilities of reading them, are an appropriate instrument to represent or analyze todays interconnected social structure.
3. «Folie du Voir»
The text defines the passage from a culture of stabilities and objects, with its Fordism and its industrial standards, to a culture of instabilities and of flux with its cyberspace and its instantaneous communication...
We consider the part in the text where the comparison of the crystal-image in the 20th century and the flux - image is mentioned.
The crystal, with its sharp edges and its coalescences of the present and the past, the allegory of the entire culture of glass of the 20th century.
Examples from Marcel Duchamp, Bruno Taut and Mies van der Rohe.
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The image-flux with its new fluidities and its diaphanous transparencies
would be the allegory of a present marked by a plane of global immanence that is screen-like.
In reference to the flux-image as a example for the processing of architecture on the basis of virtual diagrammes. (Greg Lynn; NOX)
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ReplyDeleteyou have a large collection of information. try to get behind all this. change the mode of representation to diagram, map or what you think is efficient. Is there a connection between your information. if you look behind all this it gets really interesting!
alex