essay - CARTOGRAPHIES OF NOWHERE
Action Art – Magazine for Action, GEIFCO Studies and Research Group for Contemporary Phenomena. Published online 2007.
Cartography is a mode of representation. Map is the principal support and the diagram is the abstract one. Paul Klee artworks are defined as diagrams. He represents images as a Visual code and can not be considered as a simple representation, because these artworks focus on non–visible phenomena, imperceptible to human eye. Vision comprises not only objectual perception, but a relation of forces between objects. It could be perceived as an abstract mode of vision. Paul Klee defined painting as a relation of forces and diagrammatic representation. The image in Paul Klee is decoded into Abstract Drawing Language depicting dynamic relations of forces between object in a topographic plane. It results a space/time diagram depiction. Diagrams are defined as the graphic representation of the relation between 2 or more objects. The result is a harmonic structure that is organised in geometric parameters. Formal elements (point, line, space) conforms the geometrical code in a dynamic relation including time.
In that sense, creates a visual cosmos where objects are in relation through vectors and forces in time/space relations and also movement/counter-movement' conceptualization. These dynamic forces are creating maps, cartographies and circuits. Space turns into time in Paul Klee diagrams. Diagrams are then representation of time. Like in cinematography, diagram represents the dynamic relation between 2 objects, the movement through light. It is real-time based image in painting and implies the end of formalism. Paul Klee Diagrams rebuild a topos, an utopian and imagined embodied space.
The abstract language in diagrams imply a lecture that interprets facts. Actual artworks are based in interaction. Hermeneutic turns into Interaction. There is no longer interpretation, but users, experiences. The aesthetic of reception is moving to the experience of senses. In a technological version, the sense overcome the interpretation or lecture, avoiding systematical rationalism and logic. The technological extension of human conscious implies the organic spatialization. This is an example to understand electronic technologies as an extension of our central nervous system. We introduce our physical bodies into our expanded nervous system. Media technology communications allows synergy, real-time communication, instant and ephemeral. The Senses become a perceptual mechanism to understand universe, creation. Objective reality (lecture, interpretation and rationalism) is opposite to subjective experience based in conscious. Sign and code are shapes to experience. Instead, Sensorial process are based in imaginary and memory (future and past mode of thought). All senses in a complete way to approach a conscious state, which includes text, code and signifiers, lectors and users trying to surpass borders between objectivity and subjectivity. Digital media allow integrating sensorial modes into technology. Users get into an disembodied network as it happens in Tron, foundational Sci-Fi film, through an interiorised software journey. Digital system extends our sensation out of mind, out of body. Creating artificial reality, objective and allowing the experience of subjectivity as objectivity. Found ontology of being based in empirism, conscience, sensation and also dream as a other ways to communicate estates of mind.
