![]() Reconfiguring the View From Nowhere: Collage and Complicity in ‘Targets’ by Joyce KozloffĢ. ![]() Intro – From Critical Cartography to Cartographic Abstraction: Rethinking the Production of Cartographic Viewing Through Contemporary Artworksġ. This research is positioned at the intersection of art theory, critical cartography and materialist philosophy. ![]() Reconfiguring the Foucauldian underpinning of critical cartography towards a materialist theory of abstraction, cartographic viewpoints are theorised as concrete abstractions. Reddleman closely engages with selected artworks (by contemporary artists such as Joyce Kozloff, Layla Curtis, and Bill Fontana) and theories in each chapter. In this book, Claire Reddleman introduces her theoretical innovation ‘cartographic abstraction’ – a material modality of thought and experience that is produced through cartographic techniques of depiction. The book is a development of my phd thesis, and so is most likely to be of interest for postgraduate students and researchers – but I think the material about the artworks will also be of interest for art students, artists and art-world professionals, and the theoretical ideas about cartographic abstraction will be of interest for people who work on real abstraction and Marxian-informed ways of thinking about art and visual culture”. These ways of seeing with maps are explored with close reference to a series of contemporary artworks, by Joyce Kozloff, James Bridle, Trevor Paglen, Layla Curtis and Bill Fontana. “It’s all about different forms of cartographic viewing – including the ‘cartographic view from nowhere’, drone viewing, the Apollonian view (in which the earth is ‘seen’ from space), remote cartographic viewing (with particular reference to the antipodes) and an ‘immersive’ form of viewing cartographically from within an art installation. Therefore, it is important to implement the spatial quality assessment and commenting system proposed by the authors.Claire Reddleman’s new book ‘Cartographic Abstraction in Contemporary Art: Seeing with maps’ is out now from Routledge Advances in Art and Visual Studies! The results of the proposed methodology indicate that natural history data are so heterogeneous in terms of spatial description quality that it is not always possible to unambiguously and precisely geotag them. These aims were achieved owing to participation in the AMU Nature Collections project – digitization and sharing of natural data resources of the Faculty of Biology of Adam Mickiewicz University in Poznań (AMUNATCOLL). The second goal was to develop a good practice guide for geotagging NHCs based on the limitations resulting from the specificity of archival data. ![]() The first goal of this paper was to create and verify a list of available online sources of geotagged spatial information. Therefore, it is important to develop a methodology to standardize geotagging methods. Moreover, the accuracy of the spatial assignment of specimen locations in many online databases is unacceptable for environmental research. Although numerous studies have examined the process of digitizing NHCs, there is still a need to develop good practice guides and a unified database or list of geographical information resources. Increasingly, these projects include geotagging, which means assigning geographical coordinates and spatial attributes to specimens discovered in the field. Therefore, digitization projects of natural history collections (NHCs) currently show a rising trend. The availability of archival spatial datasets, which are crucial means of obtaining valuable information in biological and ecological research, is often limited due to the analog form of the data.
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