5,617 research outputs found

    Mobilizing the cartographic paradox: tracing the aspect of cartography and prospect of cinema

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    Understanding the contrast and challenge of cinematic cartographies may lie in querying what John Pickles (2004, p.89) calls the "cartographic paradox." The cartographic paradox is that linear perspective and projectionism inform cartographic practice. Yet, these two scopic regimes are both complementary and contradictory. The cartographic paradox has been mobilized by montage, animation and motion pictures. The penultimate technology of linear perspective is cinema, whereas the penultimate technology of projectionism is GIS and animated cartography. I argue that understanding the mobilization of these scopic regimes may lead to the production of affective geovisualizations.A compreensão do contraste e do desafio das cartografias cinemáticas pode residir na indagação do que John Pickles (2004, p.89) chama de "o paradoxo cartográfico." O paradoxo cartográfico é que a perspectiva linear e o projecionismo informam a prática cartográfica. Contudo, estes dois regimes de visão são complementares e contraditórios. O paradoxo cartográfico tem sido mobilizado pela montagem e a animação de imagens em movimento. A penúltima tecnologia da perspectiva linear é o cinema, enquanto que a penúltima tecnologia do projecionismo é o SIG e a animação cartográfica. Discuto neste artigo que compreender a mobilização destes regimes de visão pode conduzir à produção de geovisualizações afetivas

    Psychopower and Ordinary Madness: Reticulated Dividuals in Cognitive Capitalism

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    Despite the seemingly neutral vantage of using nature for widely-distributed computational purposes, neither post-biological nor post-humanist teleology simply concludes with the real "end of nature" as entailed in the loss of the specific ontological status embedded in the identifier "natural." As evinced by the ecological crises of the Anthropocene—of which the 2019 Brazil Amazon rainforest fires are only the most recent—our epoch has transfixed the “natural order" and imposed entropic artificial integration, producing living species that become “anoetic,” made to serve as automated exosomatic residues, or digital flecks. I further develop Gilles Deleuze’s description of control societies to upturn Foucauldian biopower, replacing its spacio-temporal bounds with the exographic excesses in psycho-power; culling and further detailing Bernard Stiegler’s framework of transindividuation and hyper-control, I examine how becoming-subject is predictively facilitated within cognitive capitalism and what Alexander Galloway terms “deep digitality.” Despite the loss of material vestiges qua virtualization—which I seek to trace in an historical review of industrialization to postindustrialization—the drive-based and reticulated "internet of things" facilitates a closed loop from within the brain to the outside environment, such that the aperture of thought is mediated and compressed. The human brain, understood through its material constitution, is susceptible to total datafication’s laminated process of “becoming-mnemotechnical,” and, as neuroplasticity is now a valid description for deep-learning and neural nets, we are privy to the rebirth of the once-discounted metaphor of the “cybernetic brain.” Probing algorithmic governmentality while posing noetic dreaming as both technical and pharmacological, I seek to analyze how spirit is blithely confounded with machine-thinking’s gelatinous cognition, as prosthetic organ-adaptation becomes probabilistically molded, networked, and agentially inflected (rather than simply externalized)

    For a social cartography of enconunters

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    This article results from the encounter and experience with the Social Cartography Methodology by Brazilian and Argentinean research groups, composed of architects, urban planners, and geographers in the Dunas neighborhood, within the periphery of Pelotas, in the Southernmost Brazil state of Rio Grande do Sul. The methodology of Social Cartography followed the weaving of the city, the interrelationships of the particular case of the Dunas neighborhood, line-by-line, in the sewing of the daily life, desires, problems, solutions, and public authorities' actions. The text seeks to raise issues related to the Social Cartography method, such as organization, analysis, and forms of applications. It also points to emancipatory and communitarian aspects involved in this process. We propose that Social Cartography can help to weave the city, undoing the dichotomy between center and periphery while new social spaces are produced from intervention research.Fil: Rocha, Eduardo. Universidade Federal de Pelotas; BrasilFil: Diez Tetamanti, Juan Manuel. Universidad Nacional de la Patagonia ; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; ArgentinaFil: Mesquita Clasen, Carolina. Universidade Federal de Pelotas; Brasi

    Impossible cartographies: approaching Raúl Ruiz’s cinema

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    Raúl Ruiz (1931-2011), while considered one of the world’s most significant filmmakers by several film critics, is yet to be the subject of any thorough academic engagement with his work in English. My book Impossible Cartographies sets out on this task by mapping, as fully as possible, Ruiz’s cinematic trajectory across more than five decades of prolific work ranging from his earliest work in Chile to high budget ‘European’ costume dramas culminating in the recent Mysteries of Lisbon (2010). It does this by treating Ruiz’s work, with its surrealist, magic realist, popular cultural and neo-Baroque sources, as a type of ‘impossible’ cinematic cartography, mapping real, imaginary and virtual spaces, and crossing between different cultural contexts, aesthetic strategies, and technical media. In argues that across the different phases of Ruiz’s work identified, there are key continuities such as the invention of singular cinematic images and the interrogation of their possible and impossible combinations. This article will present some of the key themes of Ruiz’s cinema and use ideas of virtual cartography, tableaux vivants and the neo-baroque to illuminate a range of Ruiz’s films from the Hypothesis of the Stolen Painting (1978) to Mysteries of Lisbon, his last major project

    Film and Tourism. An Information System for Disclosing the Cinematographic Attractiveness of Destinations (Giulia Lavarone pp.289-291)

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    The Department of Cultural Heritage of the University of Padova investigated the topic of film-induced tourism in a year-long project, concluded in April 2015, titled Strumenti innovativi per la promozione turistica: film-induced tourism (Novel Tools to Promote Tourism: Film-induced Tourism). The project was financed by the Veneto Region through ESF funds. It brought together the expertise of film scholars, computer scientists and destination management experts, in partnership with public bodies (Provincia di Padova) and ICT companies. The goal of the project was to develop an information system that fosters film-induced tourism combining data about a geographical area and the movies produced in it. The system is designed as a platform to store and convey rich contents, able to address the needs of the tourist but also of stakeholders as DMOs and film commissions. The system was planned as a model for the destinations which could take advantage of a significant cinematographic background, yet are unlikely to spontaneously produce considerable film-induced tourism phenomena. The province of Padova has been used as a case study

    Film and moving image studies: re-born digital? Some participant observations

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    Maps in the Cinema. An introductory study

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    This paper addresses the links between cartography and film, through analysis of maps and plans exhibited in the most popular Western film productions. A larger study, in addition to the bibliography and filmography, a reflection on the history of that relationship in pictorial art and literature, is available in “La cartografía en el cine: mapas y planos en la producciones cinematográficas occidentales” published in issue 334 of the electronic journal Scripta Nova.No publicad

    Las morfologías urbanas de las películas en la costa mediterránea española

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    Las morfologías urbanas de las películas en la costa mediterránea española El objetivo del presente artículo es establecer una relación entre las morfologías urbanas de las ciudades del arco mediterráneo español (AME) y su representación cuantitativa y cualitativa en el cine de sus características urbanas. Dada la apreciación de pautas históricas comunes en espacios, como los centros históricos y sus posteriores crecimientos, se ha apostado por estos espacios litorales. En ese sentido, se plantea una metodología de revisión bibliográfica para establecer el estado del arte que relaciona las escenas urbanas cinematográficas y las morfologías que son representadas. Para ello, se ha apoyado este estudio en el análisis urbanístico de las morfologías filmadas en varias decenas de películas, que han sido evaluadas y categorizadas a partir de variables como sus elementos arquitectónicos, morfologías, compacidad y emplazamiento, basadas en la taxonomía de Zárate Martín (1991). También se han considerado criterios paisajísticos urbanos que hacen hincapié en las características físicas y morfológicas espaciales como los hitos paisajísticos o los espacios públicos. Además, se han vinculado con elementos cinematográficos como el género o el origen de las producciones. Para ello, se han empleado Sistemas de Información Geográfica y documentación urbana, como la normativa urbanística, para localizar y caracterizar los clips analizados.Peer ReviewedPostprint (published version

    Asymmetries : Iterative Cinematic Cartographies

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    The article functions as an exegesis for the installation project on the city titled Asymmetries (2018/19/20). The installation and its various iterations is conceived as a making-thinking-spectatorial research project on the urban premised on strategies developed through modes of artistic research. The project explores various forms of contemporary film practices in order to explore and re-imagine city life beyond the confines of teleological conceptions. In particular, the writing and its iterative explorations relates to cinema aesthetics and its political confrontation with the mono-focal conception of cinema and its projection norms. The work invites the reader momentarily suspend the position of the passive spectator and assume the position of a collaborative explorer or experimenter in various acts of cinematic cartography. The suspension of the inactive spectator position might lead to the re-examination of equivalences between the reader’s learned gaze and of epistemic prompts offered in this artistic research project on the city
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