Dark Writing: Geography, Performance, Design (Writing Past by Paul Carter

By Paul Carter

We don't see empty figures and descriptions; we don't movement in instantly strains. far and wide we're surrounded through dapple; the geometry of our embodied lives is curviform, meandering, bi-pedal. Our own worlds are timed, inter-positional, and contingent. yet nowhere within the language of cartography and layout do those usual stories seem. This, Dark Writing argues, is a major omission simply because they're designs at the international: architects and colonizers use their traces to build the locations the place we'll stay. however the rectilinear streets, squares, and public areas produced during this means pass over humans and the complete environmental historical past in their coming jointly. How, this booklet asks, do we clarify the omission of our bodies from maps and plans? and the way will we redraw the traces maps and plans use in order that the qualitative global of shadows, footprints, comings and goings, and occasions―all crucial traits of areas that incubate sociality―can be registered?

In brief, Dark Writing asks why we symbolize the realm as static while our event of it's cellular. It strains this bias in Enlightenment cartography, in inductive common sense, and in modern position layout. this can be the destructive critique. Its confident argument is that, once we glance heavily at those designs at the global, we discover strains of a repressed flow shape. Even the correct strains of geometrical figures prove to include strains of prior passages; and there are numerous types of photograph layout that do interact with the darkish setting that surrounds the sunshine of cause. How can this "dark writing"―so very important to reconfiguring our international as a spot of assembly, of co-existence and maintaining diversity―be represented? and the way, hence, can our representations of the realm embrace extra sensuously the cellular histories that experience produced it?

Dark Writing solutions those questions utilizing case stories: the exemplary case of the beginnings of the now world-famous Papunya Tula portray flow (Central Australia) and 3 high-profile public place-making tasks during which the writer used to be concerned as artist and philosopher. those case reviews are nested within historic chapters and philosophical discussions of the road and linear pondering that make darkish Writing either a hugely own booklet and a story with extensive basic appeal.

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Dark Writing: Geography, Performance, Design (Writing Past Colonialism)

We don't see empty figures and descriptions; we don't stream in directly strains. all over the place we're surrounded via dapple; the geometry of our embodied lives is curviform, meandering, bi-pedal. Our own worlds are timed, inter-positional, and contingent. yet nowhere within the language of cartography and layout do those usual reports look.

Extra info for Dark Writing: Geography, Performance, Design (Writing Past Colonialism)

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But evidently this freedom is illusory, a kind of collectively self-willed amnesia brought about by our unquestioning submission to the authority of abstract reason. “Memory is forgotten by the modern world as our attempt to release hope points us toward the future. The future for the modern world is the present become more extreme. ”34 Geography’s Myth Now that we have to hand a way of reading the “logically inferior” language of metaphor and image, we are in a position to characterize geography’s myth.

B. Harley showed us, instruments of discourse. 3 But Harley’s Foucauldian conclusion — that “all knowledge — and hence cartography — is thoroughly enmeshed with the larger battles which constitute our world. Maps are not external to these struggles to alter power relations. The history of map use suggests that this may be so and that maps embody specific forms of power and authority” — is not the end of the matter. Maps not only enable; they disable. They displace other forms of spatial representation.

The three case studies respond to the challenges of the earlier chapters. They propose different techniques for drawing and thinking movement back into the design of places. They also respond to the practical precedent Indigenous cultures set, in which geography, performance, and design are different expressions of one constantly renewed act of self-becoming at that place. But it is clear that profound cultural differences cannot be dissolved, and thinking and drawing practices peculiar to one relationship to country cannot be directly transposed to the circumstances of postindustrial place making.

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