Cartography and Art (Lecture Notes in Geoinformation and by Georg Gartner, William Cartwright, Antje Lehn

By Georg Gartner, William Cartwright, Antje Lehn

The contributions during this e-book deal with using ‘different’ geo-communication instruments that can enable for more desirable visualization of geography- via incorporating paintings. it really is envisaged that the paintings of this booklet may also help to re-define how we will greater visualise area and position, contemplating: technology, know-how and artwork. The e-book is consequently a party of the ‘meeting point’ among artwork and Cartography. It offers a place to begin for a trip that might discover leading edge equipment and methods for representing our global utilizing the complementary thoughts from paintings, technology and know-how.

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Buci-Glucksmann’s proposes the “Icarian eye” as a teleology of seeing, a panoramic view or illusion of the infinite, which takes the place of the central perspective’s landscape that recedes into the distance, the fixed and indeed distanced scientific view that sweeps out the window across the landscape. From a Cartographic Glance to Synchronistic Experiences 39 The sweeping view implied by the flying motion envisioned disorients the perspectival space, its center and horizon. The static central perspective is thus replaced by motion.

Although Buci-Glucksmann speaks of energetic elements that connect heaven and earth, the Icarian and the cartographic, she does not lack regard for the potential for the corporeality of the subject(s) to remain trapped in repression, suffering or material fixedness. Buci-Glucksmann’s theory and perspective on art hold a balance between the unsound problematic of materiality and poetic abstract relatedness, a balance that is reminiscent of the atmosphere in the work of the German performance and installation artist Rebecca Horn.

Cartography as a communication science cannot produce useful results without considering the effects of emotional storytelling, which can be responsible for motivation, emotional arousal and interaction. Additionally emotional storytelling seems to be heavily related to the field of aesthetics, which has impact on the overall graphical communication process (Kroeber-Riel 2000), but still relies on basic communication needs.

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