By William Cartwright, Georg Gartner, Antje Lehn (auth.)
This ebook is the fruition of labor from participants to the paintings and Cartography: Cartography and paintings symposium held in Vienna in February 2008. This assembly introduced jointly cartographers who have been attracted to the layout and aesthetics components of cartography and artists who use maps because the foundation for his or her artwork or who include position and area of their expressions. the end result of bringing jointly those like minds culminated in an excellent occasion, spanning 3 evenings and days within the Austrian capital. Papers, exhi- tions and installations supplied a discussion board for appreciating the endeavors of artists and cartographers and their representations of geography. in addition to indulging in an expansive and expressive social gathering attendees have been capable of re? ect on their lonesome paintings and talk about related components in every one other’s paintings. It additionally allowed cartographers and artists to debate the possibility of collaboration in destiny study and improvement. To understand the signi? cance of this occasion, paper authors have been invited to extra enhance their paintings and give a contribution chapters to this ebook. We think that this e-book marks either a signi? cant social gathering in Vienna and a kick off point for destiny collabo- tive efforts among artists and cartographers. The editors want to recognize the paintings of Manuela Schmidt and Felix Ortag, who undertook the duty of the layout and structure of the chapters.
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Extra resources for Cartography and Art
3). Fig. 1. Richard Long, Wind Stones, 1985 Fig. 2. Richard Long, Dartmoor Walks, 1972 32 David Fairbairn Fig. 3. Layla Curtis, NewcastleGateshead, 2005 Although created using cartographic representations, such artefacts are ‘not really cartographic’ – they are not using cartographic transformations. Similarly we can look at examples of paintings which are ‘not really art’. It has already been suggested that the type of painting exemplified by vedute falls into this category. Such representations employ transformations which are almost cartographic, and because of the precision of their geometric fidelity, they could assist in the same way as photography, in creating maps.
This is clearly evident, in a Toblerian sense, in the geometric transformations which occur when we capture data in the field or we geocode a real world location into a spatial data base. Rules exist to ensure that real space can be transformed into coordinate 26 David Fairbairn space at a reduced scale, and these rules act on data from the real space. Other transformations in cartography are similarly dependent on invariant rules acting on variable data: contemporary research into cartographic generalisation, clearly a transformation of spatial data, attempts to develop generic guidelines to achieve objective and data-specific results.
Towards the end of the eighteenth century, according to Gombrich, the situation changed once more, and artists were expected to represent their own experiences, there was a “need for sincerity, for genuine emotion” … artistic expression, embodied in a work of art, was no longer a signal or a symbol, but “a symptom of emotions; for the first time, the critics wanted to know what the artist himself felt; they wanted him to bare his own heart” (Gombrich, in Woodfield 1996, p. 147). Thus, the individual artist becomes the centre of interest: the emotions of the artist are primary.