ON THE GEOSPACIAL AND METABORDERS:

Potential in light of the collaborative lexicon, by Benjamin Bailey.

Not only are new and general revolutions in communications technology changing social dynamics as a structure for reference – over business education or leisure, but the effects on individual visualisation in memory reference and in comprehension of one's surroundings are also being profoundly changed. Such new modes of comprihension and understanding, when referenced through multidimensional collaboration, can easily be felt.

http://www.sciencemuseum.org.uk/visitmuseum/subjects/~/media/Images/main/galleries/mathematics%20jpg.ashx?mw=170&mh=99

The integrated gaze
email hacking and the collective lexicon.

Meta Map? in it's initial purpose, is un application referencial for remotely centralized curation and production for exhibition space. The proposal was implemented in an exhibition scenario, to further test new processes in the art of networked creative production. Working towards multidimentional (geographic/ psychographic/ human-geographic/ cyber-ethnic) rhetorics informed by the material, the visual, and an escaping of routine, of individual visualisations for the exploration of the mutural space surrounding the colaborator space. The act of creating a common space through taking a journey as creative muse.

It was this concept which the collaboation followed in discussion during gerative stages.
Each would take and map a journey. thework made by each artist (drawing, recording [sound, video, ...], photography, ...) were to form a resource for different or combined production.
Other subjects covered in the formulative communications were over deliberation of practical approach: who would begin, distance/ time, method of travel. besides the virtual spaces in which the artists are living in as a collective – for exhibition. These conversations produced various ideas and theories over how the journies could be unified, ordered and explored the relations between variants.

Whilst reading a transcript of the email-hack, I noticed there were two distinct ways in the process: the journey would have an imposed route, one derived from superimposition of a previous or other route -perhaps resulting in an irrational navigation in the sense of A to B, OR that the artist would take a regular or “intimate” journey and search for new possibilities in light of an alien perception of the journey.

The preliminary conversations of the first collaboration composed a new visualisation – like a veil in aid to the achievement of discovery with which the artists would, in following the moment, reference the notions formed and indulge in the conception of creating a new and characteristically intimate space as a collaborative act. The preconceptions of being used to a space are neutralised and the participant sees their routine environment with fresh eyes in the moment and whatever the gender, becomes a hunter gather for artistic collection.

This investigation and representation of spatial visualisation through the act of creative work, brings the sphere of play (or investigated areas) into consideration of more than three dimensions:

1. The effects of time on an individuals interaction with and referencing of group email correspondence and the effects of passive registery of dates in documentation on personal orientation.
2. The two and three-dimensional planes of expression and referencing of temporal information brought through the participants presence in their geographical location.
3. The superimposition of the references derived of others experiencing the affect of the metaMap v01 lexicon, from the participating artist's own unique location and perspective.

Therefore it could be seen necessary that the realities of internet collaboration: the one, two and three dimensional, the temporal/ visible and the formulation of drafts, notions and ideas should be classified as a process of multidimensional visualization and consequently that art in not only now present in new forms, but also encompasses new ways of thinking derived from use of the internet and new communications technologies.

Comprihension and the visualized multidimentional environment.
When faced the Instantist statement “The apple exhisits because it is red” we, in the persuit of psychogeographic terrain need not question the existence of the apple, but rather the reason for the apple to be in the location in which it exhists.

Places, whether textual, material, or imaginary, are constructed and comprehended not simply by units with distinct boundaries, but also by practices, structures of feeling, and sedimented features of habitus. .1 Memory and place, location and navigation, walking and learning, are vitally and dramatically linked. As collaborating artists travel into the collaborative space and into personal space they explore stimulated by the creative process. Separate journies fing points of commonality, a normalizer unifying the different actions of all participating artists, much as the participation in the initial conversations over the proposed action – both in direct representation of how artists (or any professional, student or friend) follow the direction of thought being taken by the representation of an idea – as it is restricted and limited by innate architectural boundaries and the various cultural modes of comprehension and individual exerience. The artist exeriences through documentation, the discussion of purpose as it formes lexicon for the visualization enabeling appropriate action – acting out the ideas developed in collaboration; of collaborating.
The unoccupied ground of collaborating artists is, through a mutual process of self-syncronised occupation/ exploration by their own altered perception of an escape from routine, in producing documentation, experience in traveling and in the integrated use of communication technologies. This collaborator/ producer model is able in the first place to stimulate creativity through the production of a referencial pool, to co-educate producers and to formulate better models of creative production.3

“Franny is listening to a program on wolves. I say to her, Would you like to be a wolf? She answers haughtily, How stupid, you can't be one wolf, you're always eight or nine, six or seven. Not six or seven wolves all by yourself all at once, but one wolf among others, with five or six others. In becoming-wolf, the important thing is the position ... of the subject itself in relation to the pack or wolf-multiplicity.” .2 The nature of artistic visualasion with collaborator-multiplicity is brought from communicative activities in collaboration influenceing comprehension by a compound of the groups deficit knowledges and of the reactions and movements during the formulative space of time. The “leader self” whose goals and ideas collectivize the indivuduals and harmonize them by causing self bounderies to fall – here, this position remains vacant. INSTEAD this vcant position of a sence of calling, of some .. reformist, revolutionary identity is replaced. [The comprehension] of a “spontanious community” a form of ... exhistance in the “here and now” .3
PERFORMANCE. A scout once, whilst on the perifery of the discovered, surrounding an anchient township or settlement, each scout interprets the needs of the township whilst exploring beyond the avant-garde, reporting back with their interpretation of useful discovery. Whilst on their journey then, the artist engages with the actual locations and those memorable characteristics both in accord with the cultural nature of the participant and the capacity of human retention on the ideas gathered. People’s perception of places and regions is not uniform. Rather, their view of a particular place or region is their interpretation of its location, extent, characteristics, and significance as influenced by their own culture and experience. It is sometimes said that there is no reality, only perception. In geography there is always a mixture of both the objective and the subjective realms.4 PRESENCE IN BELONGING TO A SPACE OR REGION or to the contrary in being foreign to a space – we draw upon the characteristics of our memories of locations and judge or respond to other places from our own understanding. Places can evoke powerful human emotions because they become layered with histories, stories and memories. When places are inhabited in the fullest sense, they become embodied with the kinds of stories, myths, and legends. They can stimulate and refresh or disturb and unnerve their visitors. Similarly the attributes of exploring collaborative space, along a new track pinned by points of ordination in a line retained by notions of where the partisipant is going to and where they are comming from.

Such boundaries form the boarders to our life as routine and here become a reflection of the psychoborders set along reigions of potential seen through the interaction between collaborator visualization and the architectural and natural dynamics of the performance environment.
The fabriction of artwork occurring through responsive drafting, stimulated by that retained in multidimensional visualization (of the metamap 01 lexicon). As the artist drifts through their familiar environment, exploring creative potential, this participatory visualization reacts in reflection to contemplation of multidimensional information as it evolves through the experiences gathered by the artist along the way.

Manual Delanda (2006) crosses the border, treating wholes as entities derived from the convergences of historical processes once composed of heterogeneous parts. �Entities ranging from atoms and molecules to biological organisms, species and ecosystems may be usefully treated as assemblages� .5 To begin to understand the painted works of Roesch as assemblages it is essential that one first understand the territory that they surround, a territory that �is made of decoded fragments of all kinds� .6 Debord attempted to convince readers to revisit the way they looked at urban spaces. To realise living in a complex city through escaping paths of routine and the every day. He urged people to follow their emotions and to look at urban situations in a radical new way.
An escape occurs, a moment in which deficit is treagured by a comprehension/ visualisation: the artwork propells forward, the lexicon becomes a different, other place as the environment is contaminated in a correlated configuration of the multidimentional informations. a new place is located in the space. CHANGE – escape. I M FORTUNATE IN NOT HAVING MY SANDLES ON, AND, AS YOU NEVER HAVE ANY, WE MAY GO ALONG THE BROOK AND COOL OUR FEET. This is the easiest way, and at midday is anything but unpleasant. [Phaedrus adds that they will go on to the tallest plane tree in the distance] .7 AND THERE arose the earliest urban center south of the Acropolis, and which from its sources on Mount Hymettus flowed through the city, has been sacrificed to the exigencies of our times; IT IS now covered by wide avenues built in an attempt to divert some of the ever-increasing volume of motor traffic .8

Figuratively describing the country of matrijzenzubehoerleute... et al.__[pond]

In his text “Phaedrus,” Plato displaced Socrates from his usual haunt, suggesting that he may be more open to new ideas because he is in unfamiliar territory, suggesting that only when people are “moved” in this way, can they be persuaded to see from a different point of view. Carlos Katastrofsky's proposal MetaMap brings this new “openness” to the participants regular haunt, the idea's basic premise questions such traditional Phaedrian notions and thereby whether such ideas as opened by classic or innate opinion are still relevent in the dawn of the digital revolution.

The multidimentional system of visualization through which the layers of different geographic environments, the composit of psychological perpectives and the preliminary objectives of lexicon-forming participant are brought through the creative process to a singular multidimensional unit: the metamap “township” and it's multiple points of pshyco-ordination.
Specific psychological/ psycho-social/ geo-referencial and personal-historic navigational systems which themselves are developed in tangency with one another and also directly by the atmosphere in which people live and work. The social, cultural and the economic are here together within the space of long distance group communications, on a global scale – as a range of geographical characteristics can differentiate a population or result in it's own cultural range in the populus, so metamap proves that a new social, cultural, economic and an ecological area is already under construction. Does place still retain the same characteristics? How do people now experience space and what might that tell us about how they experience other forms of the social world? How do students, writers, or learners experience spaces and places in the everyday, and how might this inform cultural and material theories of discourse? What does the sense of place, it's pathways, the consequent habits and effects of dwelling have to do with current establishments of thought over ideas of the social in business, education and perhaps most importantly: in politics?

bib.
.1 Nedra Reynolds. Geographies of Writing: Inhabiting Places and Encountering Difference, 2004
.2 Marcus Gracia on Medialabs, 2007
.3 Walter Benjamin. The Author as Producer, 1934
.4 Gilles Deleuze | Félix Guattari. A Thousand Plateaus, 1986
.5 Werner Helsper. Imaginare Comunitas, 1998
.6 How Culture and Experience Influence People’s Perceptions of Places and Regions © 2001 National Geographic Society.
.7 Ibid. p. 3
.8 Deleuze & Guattari. 1987, p504
.9 Plato. PHAEDRUS, 380 BC
.10 Tryfon Samaropoulos. The Ilius, 2008

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