contact me if you are interested in psychogeography/radical cartography. i'm looking for maps along the criteria explained below - any hand-made (or computer generated) map will work. this is for a project based in Atlanta: email@example.com; blog: http://paramodern.blogspot.com
1) topological image: an image that makes the viewer see him or herself; or a reflexive/non-chiral object. Creates the illusion of hybrid space by "illusory contours" or optical illusion; Non-Euclidean pictorial space; dialectical (see W. Benjamin: dialectical image); parallax, reveals inherent paradox. From my essay on Vis-a-Vis: "When we consider the cultural hysteria that surrounded the paparazzi photograph of Britney Spears displaying herself to the world, we have another example of a topological image. We see a pop megastar's vagina, but the sensation it stirs up cannot keep up with its technological modes of production (internet message boards, tabloid television and print, etc.), and the hysteric culture of voyeurism that surrounds it becomes its own object. Cultural production has replaced the artist, as for the first time we can see the collective mind in its objective form, without any need for an artist to translate or represent it for us. Voyeurism is raised to such a hysterical pitch that it becomes self-reinforcing, causa sui. This photograph represents nothing, but it presents the world to itself via negative or reversal. It performs the traumatic cut that orders the (social) real, or the hole in theKlein bottle where the subject dissociates into a total environment (the crowd, the group, the entire order of communication technologies). This is literally a face-to-face with Britney, with ourselves, and with a market demand utterly detached from the consumer which excretes the postmodern visual dimension as a total medium, or organismic interior."
3) apophenia/pareidolia: projected patterns: also images, sounds/ hallucinations. "'We (like the experts we study) often see what we expect to see, we interpret the world through our own personal lens. Thus we are extraordinarily open to the trap of apophenia.' Klaus Conrad, "A Cognitive Approach to Situation Awareness: Theory and Application" Conrad questions scientific methodology in terms of a rare condition called apophenia - a psychological condition that involves the false perception of patterns, seeing patterns that don't exist, etc. It is seen in its most severe form in the paranoid conspiracy theorist. Pareidolia is a similar condition involving the perception of images or sounds in noise backgrounds. Modern art uses similar illusion effects (based on Gestalt theory) by creating a dense background that consumes all figures. Paramodern texts deal with apophenia in some way (in addition to schizophrenia, depersonalization, alienation, paranoia, nausea, paralysis, depression and anxiety). In Pattern Recognition, Gibson diagnoses apophenia is the mental disease of our time and of the current (2003) zeitgeist (phobias, jetlag/time-distortion and perceived ESP also factor in)."
4) Kleinian cartography, or paracartography: radical cartography technique; topological study of environment along affective grids/ tensor/ metrics/ coordinates. Extension of psychogeographic cartography (The Naked City, 1957) in its study of urban space as fields or networks of aeffects.
5) affect-effect-infect: a) affect: tones, scales, octaves; feeling, mood, ambience; sense associations; b) effect: direct neural/sense stimulation; c) infect (sheer exterior): negative presence, visible invisibility, negative capability; interior/exterior indistinct; apophenic projection; ghosts, UFO's, hauntings, specters
6) paramedia: virulent media that infects neural hosts.
7) parallax: see The Parallax View (Zizek)
8) Integral Reality: total fusion via immanent plane of reality with it s representation by perfect, mirror, non-chiral inversion: fuses simulacrum with the real (The Matrix). "Integral Reality is the perpetrating on the world of an unlimited operational project whereby everything becomes real, everything becomes visible and transparent, everything is 'liberated, ' everything comes to fruition and has a meaning." – Jean Baudrillard
9) chirality: the property that makes an object non-identical to itself. Chiral objects don't map precisely onto their reflection. A Mobius strip is one example; the human hand is also a chiral object.
10) parahumanism: dual philosophy of the human; parallax between human and animal, machine, matter, image, and simulation; and its inverse (that there is an immanent plane between all (already conceptual, abstract) boundaries).
11) interior/exterior: relation between systems of reference, or coordinates, in a hybrid or hyper space. The modern city is like the visual space in dreams because it is an interior without an exterior. Visual, optical on one side; tactile, non-Euclidean, topological space on the other.
12) crime scene: the space that demands total representation, aesthetic, mathematical, causal, etc. "The scene of the crime can be compared to a film scene from a noir or horror film, where reality's basic material rules are violated. In both cases it is always a matter of production. The paramodern mimics (by a kind of negative capability/autism) modern technology: the lightbulb, the typewriter, the television, the video camera. Russolo, for example, tried to mimic the modern technological soundscape with electronically generated sound. His noise compositions sound like a Modernist city filled with the jarring sound produced by machines, crowds and the media."
13) paramodernism: "Paramodernism is outside the high modernist/postmodern dichotomy - it is a radical response to the modern environment that advanced technologies (of communication, transportation, etc.) make possible. It has its origins in the early 19th Century. It is the cultural manifestation - with the artist acting as an "antennae" (Pound) - of a general psychosomatic response to post-Enlightenment technology (telegraph, telephone, phonograph, electric light, automobiles: any technology of transportation, communication, medicine, as well as scientific advances in physics, biology, engineering, chemistry, and even astronomy - see references to Sirius in Pynchon, Eco, Joyce, Burroughs, and Gibson, ex.), and to the rise (made possible by these technologies) of advanced urbanism: city sprawls, skyscrapers, roads, the military industrial complex, and so on. The artist as antenna is more sensitive to these changes in the environment, in communities, and esp. their consequent interior transformations (changes in perception and cognition, new states of consciousness, new rhythms and other poetic devices: the list never ends). Even though it can be labeled postmodern or high modernist, paramodernism's important features are beyond the stereotypical academic models of both. It is primarily literary." – Donald Theall