“WeltKarten. Panorama”

Michelkevičė, L. & Michelkevičius, V. (eds.) Atlas of Diagrammatic Imagination: Maps in Research, Art and Education, 2019

We invite you to traverse the imagination and knowledge of all the artists and researchers who contributed maps, diagrams, and texts to this atlas. Here, scientific and artistic modes of research interact with other practices: drawing, visualisation, mapping, mediation, and education. How does a diagram differ from a text? What are the pros and cons of diagrams when compared to text? Can a map be a research component, an artwork, and a scientific means of communication, all at the same time? How do diagrams mediate between different cognitive systems? How can diagrams convey bodily experiences and gestures? How do they facilitate education? These are only few questions that delineate a general research territory where the book authors’ imaginations overlap. Even though cartographic references play an important role, many of the maps presented and discussed in this atlas go beyond the geographical notion of map, and they often bear no reference to either a location or its representation. They may involve multilayered diagrams, trajectories of a freely moving body or a hand, visual signs of hesitancy, tools of material or visual thinking, charts of tacit knowledge, notations of sensual data, or the models of research hypotheses or findings. This research is also a response to the times we live in. In the face of ever-increasing information flows and the challenges of big data processing and rendition, a linear text is not always the most suggestive form of communication. Meanwhile in maps, within a single plane, we can operate with multiple layers of knowledge, and use different means of expression in order to discover unexpected links. And yet, in the context of our lifestyles as driven by ubiquitous touchscreens, this atlas might appear as a capricious act of dissent. We call our readers and users to slow down, get comfortable, and immerse or even lose themselves in the essays, diagrams, and fold-out maps. The book will prove useful to those working in and between the areas of art history, media and visual studies, literary studies, urbanism, design, sound art, philosophy, science and technology studies (STS), and education. Lina Michelkevičė and Vytautas Michelkevičius (eds.) 2019 *** Bilingual (EN/LT) collection of texts by Arnas Anskaitis, Tomas S. Butkus, Vitalij Červiakov, Christoph Fink, Nikolaus Gansterer, Aldis Gedutis, Giedrė Godienė, Sandra Kazlauskaitė, Vytautas Michelkevičius, Lina Michelkevičė, Astrit Schmidt-Burkhardt Translator: Tomas Čiučelis Copy editors: Dangė Vitkienė and John Fail Designer: Laura Grigaliūnaitė Language: Lithuanian and English Publisher: Vilnius Academy of Arts Press Release date: 2019 Pages: 208 p Format: 35×25,5 cm Covers: hardback Circulation: 365 ISBN 978-609-447-329-6 Weight: 1150 g

Map! Unroll! Translate! Visualise! Contour! Outline! Practice! How can we practice artistic research not only as artists but also as curators and researchers in the social sciences and humanities? This book maps various modes and manifestations of artistic research in three contexts: contemporary art, doctoral studies, and research in academia. Employing both methods of interdisciplinary scholarly research and practice-based (curatorial) research, it outlines the most sensitive issues in artistic research: the relationship between theory and practice, connections to art practice and usual modes of research, knowledge and its production, and the changing identities of artists and researchers. Vytautas Michelkevičius employs a diagrammatic take on artistic research, both in the sense that the knowing of this subject is still diagrammatic (rather imaginary and not yet final) and that the major statements here are interpreted and presented in 25 diagrams. Written within a curatorial practice and post-doctoral fellowship, it opens up perspectives of artistic research for artists, curators, researchers in the social sciences and humanities, and wider audiences.

Acta Academiae Artium Vilnensis , 2012

This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness. At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment. A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice. The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.

A Swiss academie publisher distributed by Routledge Cover design: Mirza Tursio (with Boris Beaude and Elsa Chavinier).

This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound text with reference images which can be read by clicking on the thesis section where you can view all of the chapters, the appendices and references. The practical element is shown in the 13 projects section and includes artists' books, experiments, prints, multiples and a lecture. These projects investigate three main themes: • Map types: a series of visual investigations to plot map types. • Map construction processes: a series of artefact productions on investigative themes. • Map attributes: a series of artefact productions experimenting with map attributes. This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness. At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment. A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice. The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.

This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound text with reference images which can be read by clicking on the thesis section where you can view all of the chapters, the appendices and references. The practical element is shown in the 13 projects section and includes artists' books, experiments, prints, multiples and a lecture. These projects investigate three main themes: • Map types: a series of visual investigations to plot map types. • Map construction processes: a series of artefact productions on investigative themes. • Map attributes: a series of artefact productions experimenting with map attributes. This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness. At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment. A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice. The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.

This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound text with reference images which can be read by clicking on the thesis section where you can view all of the chapters, the appendices and references. The practical element is shown in the 13 projects section and includes artists' books, experiments, prints, multiples and a lecture. These projects investigate three main themes: • Map types: a series of visual investigations to plot map types. • Map construction processes: a series of artefact productions on investigative themes. • Map attributes: a series of artefact productions experimenting with map attributes. This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness. At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment. A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice. The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.