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Título: | Emotional Cartographies as an Allegory: Rethinking Mapping Process and Semantics |
Autor: | Markovic, Nevena CSIC ORCID | Fecha de publicación: | 13-dic-2019 | Citación: | Conference Playing and displaying: Practices of Cultural Heritage as Cultural Production (2019) | Resumen: | Further to the transition to more humanized geospatial technologies (Pickles, 1995), such as mapping feelings (Pocock, D. 1984) and emotional responses to space (Gartner, 2012), landscape inquiry has gone beyond >visible> landscape, introducing new conceptual models. The landscape is a way of seeing, discursive, enacted, embodied, characterized by deliberate narratives (Spirn, 2013). Emotions have been acknowledged as intersubjective - social and cultural. >Turned> by the spatiality and temporality of emotions - 'Emotional Geographies' (Davidson J, 2007), 'Emotional Mapping' goes beyond georeferencing emotional states in a certain geographic area. >Emotional Maps> are not only about emotions, but also about experiences, perceptions, memories and identities. Emotional Cartography is a way of imagination and production of territory by multiple individuals; hence collective views on territory - miradas territoriales (D. Wood 1992, 2010). This reflexive and participatory methodology links science, technology and art, theory and practice, and, as Nold argues, enables >Reflection-In-Action>. By quitting the topos, such cartography can achieve political and social goals. (Casti, 2013). In such scholarship environment, the paper rethinks the emerging field of >Emotional Cartography> in the era of >Turns> - Spatial, Affective, Participatory, Critical and Digital >Turns>. Have those >Turns> provided new research models? How >emotions> can be used to articulate and make places? What is the potential of >Emotional> data in decision making? The paper addresses these questions as it traces mapping approaches within the >Corpus of >Emotional (Heritage) Cartographie>, focusing on mapping processes and actors, techniques and tools, representation and interpretation of emotionalscapes. Furthermore, the semantics of the terms and conceptions, used by the projects, is explored through >The Glossary of Emotional cartographies>. Triggered by >invisible> or >silent> affective heritage, the paper, by testing this technique, argues for a mixed-methods approach, relying on sensory and participatory ethnographic techniques, such as walking methodologies, bringing together Non-Quantitative and >conventional> GIS. Such approach acknowledges local voices, the integration of subjective (>emotional>) spatial narratives, towards the negotiation of place. Ultimately, it draws on the potential of >Emotional Mapping> techniques as a tool for critical (spatial) thinking in (Critical) Heritage Studies, as a part of a deeper understanding of mapping as a practice, research method and a metaphor. | Descripción: | Trabajo presentado en la Conference >Playing and displaying: Practices of Cultural Heritage as Cultural Production>, celebrada en Bolzano (Italia), los días 13 y 14 de diciembre de 2019 | Versión del editor: | https://www.culturalheritage.unibz.it/nevena-markovic/ | URI: | http://hdl.handle.net/10261/209556 |
Aparece en las colecciones: | (INCIPIT) Comunicaciones congresos |
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