Cartography and Art by William Cartwright, Georg Gartner, Antje Lehn (auth.)

By William Cartwright, Georg Gartner, Antje Lehn (auth.)

This booklet is the fruition of labor from individuals to the artwork and Cartography: Cartography and artwork symposium held in Vienna in February 2008. This assembly introduced jointly cartographers who have been drawn to the layout and aesthetics parts of cartography and artists who use maps because the foundation for his or her artwork or who comprise position and area of their expressions. the result of bringing jointly those like minds culminated in an excellent occasion, spanning 3 evenings and days within the Austrian capital. Papers, exhi- tions and installations supplied a discussion board for appreciating the endeavors of artists and cartographers and their representations of geography. in addition to indulging in an expansive and expressive celebration attendees have been in a position to re? ect on their lonesome paintings and talk about related components in every one other’s paintings. It additionally allowed cartographers and artists to debate the possibility of collaboration in destiny learn and improvement. To recognize the signi? cance of this occasion, paper authors have been invited to additional enhance their paintings and give a contribution chapters to this publication. We think that this publication marks either a signi? cant party in Vienna and a place to begin for destiny collabo- tive efforts among artists and cartographers. The editors wish to recognize the paintings of Manuela Schmidt and Felix Ortag, who undertook the duty of the layout and structure of the chapters.

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On the other hand geometric precision supports a clear, but sometimes misunderstood (due to things like map projections), description of spatial conditions. Throughout history this relationship was relevant to the transmission of spatially-related knowledge, with representations dependent on communication systems of the time. Thus the earliest historic remains of wall-paintings show hunting scenes in an impressive way and roughly explain movement in space for a specific purpose. Additionally these paintings form some part of decoration that was protected for generations.

The Renaissance notion of the rigid and static view through the window is replaced in Flemish painting with an aerial view that Buci-Glucksmann calls a “world-eye” (Weltblick). 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.

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. What is intriguing here is this model’s applicability to interpreting early modern as well as early 20th century avant-gardist strategies and objectives in art. Indeed, the performance revolution triggered by avant-gardist deconstructionism raised issues that exceeded the scope of radical theories that deal with the perspective, including Buci-Glucksmann’s.

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