- Alois Riegl, haptic/optic
- Pearson and Shanks, Theatre/archaeology
- Karen Till and Ian Biggs, Mapping Spectral Traces
- Paul Rodaway, Sensuous Geographies
- Craig Saper and Folkvine, deep maps
- Shelley Fisher Fishkin, deep maps as digital maps
- Clifford McLucas, There are ten things I can say about these deep maps (2000)
First Deep maps will be big—the issue of resolution and detail is addressed by size.
Second Deep maps will be slow—they will naturally move at a speed of landform or weather.
Third Deep maps will be sumptuous – they will embrace a range of different media or registers in a sophisticated and multilayered orchestration.
Fourth Deep maps will only be achieved by the articulation of a variety of media – they will be genuinely multimedia, not as an aesthetic gesture or affectation, but as a practical necessity.
Fifth Deep maps will have at least three basic elements – a graphic work (large, horizontal or vertical), a time-based media component (film, video, performance), and a database or archival system that remains open and unfinished.
Sixth Deep maps will require the engagement of both the insider and outsider.
Seventh Deep maps will bring together the amateur and the professional, the artist and the scientist, the official and the unofficial, the national and the local.
Eighth Deep maps might only be possible and perhaps imaginable now – the digital processes at the heart of most modern media practices are allowing, for the first time, the easy combination of different orders of material – a new creative space.
Ninth Deep maps will not seek the authority and objectivity of conventional cartography. They will be politicized, passionate, and partisan. They will involve negotiation and contestation over who and what is represented and how. They will give rise to debate about the documentation and portrayal of people and places.
Tenth Deep maps will be unstable, fragile and temporary. They will be a conversation and not a statement.
Five significant take-aways for the aspiring deep mapper
1. The issue is not one of inclusion, but rather of exclusion.
2. There is messiness provided by technological possibilities.
3. There may be someone calling the tune.
4. Is it appropriate to offer a platform for openness and interactivity on the digital object once it is up?
5. Content development: organic vs. organized.
KAMLOOPS ART GALLERY
Possibility for content areas; must be grouped for the landing page.
1. Imported links
2. Tweets by artists, visitors, and staff
3. Collection notes
4. Curatorial topics
5. History of the institution
6. History and design of the building, colocation aspects
8. Oral histories
9. Signature pieces (ie Eric Metcalfe)
12. First Nations (AAC Chris Bose)
13. Outreach and public education
14. Photo gallery
15. Impact on small city
16. Institutional relationships
17. BMO Open Gallery
19. Publishing history of KAG
20. Exhibition on BMO Open Gallery wall of the process of putting together site.
Main audiences (descending order)
- Local cultural resource information
- KAG promotion and feedback
- Tourism Kamloops
My colleagues Emily Hope and Robline Forsythe
We should be up in May at www.kagdeepmap.com
more info? email@example.com
Where is Here