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practice.html
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<!DOCTYPE html>
<head>
<title>practice</title>
<meta name="viewport" content="width=device-width, initial-scale=1.0">
<link rel="stylesheet" href="./styles/styles.css">
<style>
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font-weight: lighter;
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text-align: justify;
letter-spacing: .16mm;
text-justify: inter-word;
}
</style>
</head>
<body>
<!--Navigate Elsewhere-->
<div>
<div id="mySidenav" class="sidenav">
<a href="javascript:void(0)" class="closebtn" onclick="closeNav()">×</a>
<a href="./disorientation.html">disorientation</a>
<a href="./practice.html" style="color:#e46c39">> practice</a>
<a href="./interference.html">interference</a>
<a href="./tactics.html">tactics</a>
<a href="./rendering.html">rendering</a>
<a href="./superposition.html">superposition</a>
<a href="./rhythmanalysis.html">rhythmanalysis</a>
<br>
<a href="./index.html" style="font-size:13px">FRONT_MATTER</a>
<a href="https://github.com/negative-spaces/negative-spaces.github.io/blob/main/practice.html" style="font-size:13px" target="_blank">CODE_SIDE</a>
</div>
<div id="main">
<span style="font-size:16px;cursor:alias; padding:2px;" onclick="openNav()">☰ navigate elsewhere>></span>
</div>
<script>
function openNav() {
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</div>
<!--banner image-->
<img src="./media/process/poesis_edited.png" style="width:90%">
<!--page matter-->
<div class="row1">
<div class="practice-main">
<!--introduction to (deep mapping) practice-->
<div class="practice-text">
<p><span style="font-weight:701">PRACTICE</span><br>
<span style="background-color: #82ffd547">What could it mean to think with place? To feel the city? How might the tactics of practical knowledge be employed to interfere with epistemological hegemonies from within?</span> I explore and respond to these questions through deep mapping. The concept of 'deep maps' and 'deep mapping' was first conceived by Pearson and Shanks in 1994 through a multimedia performed lecture (2001, 162). For Pearson and Shanks (2001),
<span class="brmedium"></span>
<span class="quote">
the deep map attempts to record and represent the grain and patina of place through juxtapositions and interpenetrations of the historical and the contemporary, the political and the poetic, the factual and the fictional, the discursive and the sensual; the conflation of oral testimony, anthology, memoir, biography, natural history and everything you might ever want to say about a place. (65)
</span>
<span class="brmedium"></span>
Les Roberts (2018a) notes that
<span class="brmedium"></span>
<span class="quote">
everything you might want to say may be voluminous, polyvocal or open-ended. Unlike the surface dimensions that delineate and give shape to the locational properties of place, verticality and depth denote a comparative absence of limitations. The deeper you go, the more layers you accrue. The problem becomes how to hold it all together: how to ‘frame’ it as a map. (49)
</span>
<span class="brmedium"></span>
My interest is not in deep maps as objects of knowledge but rather in deep mapping as a research practice. Deep mapping resists preemptive definition for it is <i>through practicing</i> deep mapping that deep mapping becomes articulated as an apparatus of investigation. This page is therefore an invitation to <i>think through practice</i> in order to arrive at a situated theory of deep mapping. Whereas my discussion of <a href="./disorientation.html" target="_blank">disorientation</a> disoriented the conventions of introductions by navigating through vignettes of moments, my discussion of practice assumes the dialogic form of deep mapping. Writes Robert Darnton (2000):
<span class="brmedium"></span>
<span class="quote">Time was when readers kept commonplace books...Unlike modern readers, who follow the flow of a narrative from beginning to end, early modern Englishmen read in fits and starts and jumped from book to book. They broke texts into fragments and assembled them into new patterns by transcribing them in different sections of their notebooks. Then they reread the copies and rearranged the patterns while adding more excerpts. Reading and writing were therefore inseparable activities. They belonged to a continuous effort to make sense of things, for the world was full of signs: you could read your way through it; and by keeping an account of your readings, you made a book of your own, one stamped with your personality.
</span>
<span class="brmedium"></span>
Tim Cresswell describes commonplacing as the creation of a "literary topos" whereby one "record[s] the wisdom of others, and gradually draw[s] upon it to form a unique new assemblage...." (2019, 10). What follows is a digital commonplace: embedded on the left are multi-media passages from the physical-conceptual fields of my encounter; on the right, interpretations of deep mapping generated through navigations within and as part of them. Similar to how Clifford McLucas wrote ten things about deep maps (2000), I share some understandings about deep mapping I have come to recognize through the course of practice. The way this page is structured, the digital commonplace is itself one half of an open-ended dialogue. You are invited to create a digital commonplace of your own as you read by taking notes and making notes in the "asides" panel on the right.
</p>
<p>
<i>Note</i> This is admittedly a busy page with a lot of visual material. <a href="./practice.html#theory-of-deepmapping">Click here ▼ </a> to skip the digital commonplace and arive directly at my theory of deep mapping and a figure of practice.
</p>
</div>
<br><br>
<!--digital commonplace-->
<div class="commonplace">
<br><br> <br><br>
<!-- ongoing and open-ended dialogue with the world -->
<div class="row2">
<div class="comm-left">
Deep mapping is
<br>
<div style="width:100%; height:340px; overflow:scroll">
<img src="./media/commonplace/Loveless2019_95.jpg" style="width:100%">
<img src="./media/commonplace/Loveless2019_96.jpg" style="width:100%">
<br>
<span style="font-size:11pt">from Loveless, Natalie. 2019. <i>How to Make Art at the End of the World: A Manifesto for Research-Creation.</i> Duke University Press.</span>
</div>
</div>
<div class="comm-right">
<span style="background-color: #ffea8262">an ongoing and open-ended dialogue with the world</span>
<br>
<img src="./media/field/chalk.jpeg" style="width:100%;"><br>
<br>
</div>
</div>
<br><br> <br><br>
<!-- situated, embodied inhabitation -->
<div class="row2">
<div class="comm-left">
Deep mapping is
<br>
<img src="./media/field/20230419_132953.jpg" style="width:100%">
<br>
</div>
<div class="comm-right">
<span style="background-color: #ffea8262">situated, embodied inhabitation</span>
<br>
<img src="./media/process/vancouver-cold.jpg" style="width:100%">
</div>
</div>
<br><br> <br><br>
<!-- attunement to affect -->
<div class="row2">
<div class="comm-left">
Deep mapping is
<div style="width:fit-content; height:450px; overflow:scroll; text-align:left;">
<img src="./media/commonplace/Stewart2010_446.jpg" style="width:100%">
<img src="./media/commonplace/Stewart2010_452.jpg" style="width:100%"><br>
<span style="font-size:11pt">Stewart, Kathleen. “Atmospheric Attunements.” <i>Environment and Planning D: Society and Space</i> 29, no. 3 (June 1, 2011): 445–53. https://doi.org/10.1068/d9109.</span></div>
</div>
<div class="comm-right">
<span style="background-color: #ffea8262">attunement to 'affective atmospheres' (Stewart 2011)
</span>
<br>
<div style="width:fit-content; height:450px; overflow:scroll; text-align:left;">
<img src="./media/process/blue-house.jpg" style="width:100%">
<img src="./media/process/blue-house-sensing.jpg" style="width:100%">
<img src="./media/process/blue-house-sensing2.jpg" style="width:100%">
</div>
</div>
</div>
<br><br> <br><br>
<!-- practical knowledge-->
<div class="row2">
<div class="comm-left">
Deep mapping
<img src="./media/field/watermarked-transit.jpg" style="width:100%;">
</div>
<div class="comm-right">
<span style="background-color: #ffea8262"> cultivates practical knowledge
</span>
<br>
<img src="./media/process/transit-map.png" style="width:100%;">
</div>
</div>
<br><br> <br><br>
<!-- a rhythmanalysis that exceeds measure -->
<div class="row2">
<div class="comm-left">
Deep mapping is
<br>
<div style="width:100%; height:630px; overflow:scroll;">
<img src="./media/process/rhythm-notes.png" style="width:100%">
<img src="./media/process/scale-of-perceptibility.png" style="width:100%">
<br>
<span style="font-size:11pt">Notes from Lefebvre, Henri. 2013. <i>Rhythmanalysis: Space, Time and Everyday Life.</i> Translated by Gerald Moore and Stuart Elden. Bloomsbury Publishing Plc. https://doi.org/10.5040/9781350284838.</span>
</div>
<br>
</div>
<div class="comm-right">
<span style="background-color: #ffea8262">a rhythmanalysis that precedes and exceeds measure</span>
<br>
<img src="./media/field/live-without-dead-time_20230902.jpg" style="width:100%">
<br>
<div style="width:100%; height:330px; overflow:scroll;">
<img src="./media/process/napkin-note1.jpg" style="width:100%">
<img src="./media/process/napkin-note2.jpg" style="width:100%">
</div>
<br>
</div>
</div>
<br><br> <br><br>
<!--iterative -->
<div class="row2">
<div class="comm-left">
Deep mapping is
<br>
<div style="width:100%; height:550px; overflow:scroll;">
<img src="./media/process/first-outline_20221205_1.jpg" style="width:100%">
<img src="./media/process/first-outline_20221205_2.jpg" style="width:100%">
<img src="./media/process/first-outline_20221205_3.jpg" style="width:100%">
<img src="./media/process/first-outline_20221205_4.jpg" style="width:100%">
<br> My first thesis outline
</div>
<br>
</div>
<div class="comm-right">
<span style="background-color: #ffea8262">iterative</span>
<br>
<img src="./media/process/process-performance.jpg" style="width:100%">
<br>
<div style="width:100%; height:435px; overflow:scroll;">
<img src="./media/process/deep-mapping1.jpg" style="width:100%">
<img src="./media/process/deep-mapping2.jpg" style="width:100%">
<img src="./media/process/deep-mapping3.jpg" style="width:100%">
</div>
</div>
</div>
<br><br> <br><br>
<!--sitational -->
<div class="row2">
<div class="comm-left">
Deep mapping is
<br>
<img src="./media/field/bike-tomatoes.jpg" style="width:100%;">
<img src="./media/field/biking-lefebvre.jpg" style="width:100%;">
</div>
<div class="comm-right">
<span style="background-color: #ffea8262">sitational</span>
<br>
<img src="./media/process/spatial-sitation.jpg" style="width:100%;">
<br>
<img src="./media/field/post-it-navigation.jpg" style="width:100%;">
</div>
</div>
<br><br> <br><br>
<!-- immersive-->
<div class="row2">
<div class="comm-left">
Deep mapping is
<br>
<img src="./media/commonplace/Roberts2018_51.jpg" style="width:100%;">
<br>
<span style="font-size:11pt">from Roberts, Les. 2018. <i>Spatial Anthropology: Excursions in Liminal Space</i>. Rowman and Littlefield.</span>
</div>
<div class="comm-right">
<span style="background-color: #ffea8262">immersive</span>
<img src="./media/process/crux-its-all-the-field.jpg" style="width:100%">
</div>
</div>
<br><br> <br><br>
<!--non exhaustive-->
<div class="row2">
<div class="comm-left">
Deep mapping is <br>
<img src="./media/commonplace/Foucault1977_34-35.jpg" style="width:100%;">
<br>
<span style="font-size:11pt">from Foucault, Michel. 1977. “A Preface to Transgression.” In <i> Language, Counter-Memory, Practice: Selected Essays and Interviews</i>, edited by Donald Bouchard, translated by Donald Bouchard and Sherry Simon, 29–52. Ithaca, N.Y: Cornell University Press.
</span>
</div>
<div class="comm-right">
<span style="background-color: #ffea8262">non-exhaustive</span>
</div>
<br>
</div>
<br><br> <br><br>
<!--theorization-->
<a id="theory-of-deepmapping"></a>
<div class="practice-text" style="background-color: #82ffd562"><p style="font-size:14pt">Deep mapping is interference with hegemonic forms of representing place, producing geographic knowledge, and rendering spatial research public. </p></div>
<br>
</div>
<br><br><br><br><br>
<!--outro text-->
<div class="practice-text">
<!--turning and return: the lemniscate as a figure of practice-->
<div>
<p><span style="font-weight:701">A FIGURE OF PRACTICE</span></p>
<p>My theory of deep mapping is constituted through my practice of deep mapping.
</p>
<p>
That sentence took nine months of writing and re-writing. Indeed, I wrote that sentence while my theorization was still taking shape. What I'd finally found were words to describe the relationship between my theory and practice of deep mapping.
</p>
<p>
To further describe the "iterative loops between action, experience, and knowledge" (Tuin and Verhoeff 2022, 138) which form my research (and whose form my research takes), I introduce the lemniscate: ∞ The lemniscate is a form I grew up drawing and walking as part of Waldorf pedagogy. Beginning in first grade 1, along with 20 classmates, learned form drawing and Eurythmy. Eurythmy is "visible speech, visible music" / "music translated into movement" (Steiner 1923) – a spatial practice accompanied by piano whose every class began by walking a lemniscate for nearly ten minutes. Facing forward we flowed as one body in continuous motion. Although eurythmy was, without exception, our least favorite block, I have no doubt practicing it twice a week for eight years significantly developed my proprioceptive sense. Also beginning in grade one was the practice of form drawing. Sitting in silence for an hour or more we would draw a form like the lemniscate over and over, the crayon in constant contact with the page. Form drawing is <i>process</i> oriented: "It is the <i>act</i> of drawing that educates, not the result" (Gebert 1987, 8, emphasis in original). The embodied iteration of patterns was a fundamental mechanism by which representational subjects like writing and arithmetic were later taught. My critiques of Waldorf pedagogy notwithstanding, I attribute my acute spatial awareness and orientation towards sensorium to my experience of "multisensory learning, where ears and eyes and voice, hands and feet, mind and memory, all work together to reinforce each other" (Gebert 1987, 12). I also like thinking of the lemniscate as a figure for practicing deep mapping because it reminds me of limits, infinities, and vanishing points where parallel lines intersect. Practice is a commitment to transformation through iteration. The iteration of a form reveals beginning and end to be but places of turning and return.
</p>
</div>
<br><br><br><br><br><br>
<!--bibliography-->
<div>
<a name="commonplace-bibliography" id="commonplace-bibliography"></a>
<button type="button" class="collapsible" style="font-family: Inconsolata;
font-size: 13pt;font-weight:700;">BIBLIOGRAPHY</button>
<div class="content">
<div class="row">
<span style="font-family: Gill Sans, Gill Sans MT, Calibri, Trebuchet MS, sans-serif;
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<div>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">Cresswell, Tim. 2019. “Writing Place.” In </span><em><span style="font-size:11.5pt;">Maxwell Street: Writing and Thinking Place</span></em><span style="font-size:11.5pt;">, 1–20. University of Chicago Press.</span><a href="https://doi.org/10.7208/9780226604398-002"><span style="font-size:11.5pt;"> </span><span style="color:#1155cc;font-size:11.5pt;">https://doi.org/10.7208/9780226604398-002</span></a><span style="font-size:11.5pt;">.</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">Darnton, Robert. 2000. Review of </span><em><span style="font-size:11.5pt;">Extraordinary Commonplaces</span></em><span style="font-size:11.5pt;">, by Kevin Sharpe. </span><em><span style="font-size:11.5pt;">The New York Review of Books</span></em><span style="font-size:11.5pt;">, December 21, 2000.</span><a href="https://www.nybooks.com/articles/2000/12/21/extraordinary-commonplaces/"><span style="font-size:11.5pt;"> </span><span style="color:#1155cc;font-size:11.5pt;">https://www.nybooks.com/articles/2000/12/21/extraordinary-commonplaces/</span></a><span style="font-size:11.5pt;">.</span></p>
<p style="color: rgb(253, 253, 251); background-color: rgb(253, 253, 251); line-height: 1; text-align: left;"><span style="font-size: 11.5pt; color: rgb(0, 0, 0);">Foucault, Michel. 1977. “A Preface to Transgression.” In </span><span style="color: rgb(0, 0, 0);"><em><span style="font-size:11.5pt;">Language, Counter-Memory, Practice: Selected Essays and Interviews</span></em></span><span style="font-size: 11.5pt; color: rgb(0, 0, 0);">, edited by Donald Bouchard, translated by Donald Bouchard and Sherry Simon, 29–52. Ithaca, N.Y: Cornell University Press.</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">Gebert, Rosemary. 1987. “Form Drawing.” </span><em><span style="font-size:11.5pt;">Child and Man</span></em><span style="font-size:11.5pt;"> 21 (1).</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">Lefebvre, Henri. 2013. </span><em><span style="font-size:11.5pt;">Rhythmanalysis: Space, Time and Everyday Life</span></em><span style="font-size:11.5pt;">. Translated by Gerald Moore and Stuart Elden. Bloomsbury Publishing Plc.</span><a href="https://doi.org/10.5040/9781350284838"><span style="font-size:11.5pt;"> </span><span style="color:#1155cc;font-size:11.5pt;">https://doi.org/10.5040/9781350284838</span></a><span style="font-size:11.5pt;">.</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">Loveless, Natalie. 2019. </span><em><span style="font-size:11.5pt;">How to Make Art at the End of the World: A Manifesto for Research-Creation</span></em><span style="font-size:11.5pt;">. Duke University Press.</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">McLucas, Clifford. 2000. “Deep Mapping.” Clifford McLucas. 2000.</span><a href="https://cliffordmclucas.info/deep-mapping.html"><span style="font-size:11.5pt;"> </span><span style="color:#1155cc;font-size:11.5pt;">https://cliffordmclucas.info/deep-mapping.html</span></a><span style="font-size:11.5pt;">.</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">Pearson, Mike, and Michael Shanks. 2001. </span><em><span style="font-size:11.5pt;">Theatre/Archaeology</span></em><span style="font-size:11.5pt;">. London ; New York: Routledge.</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">Roberts, Les. 2018a. </span><em><span style="font-size:11.5pt;">Spatial Anthropology: Excursions in Liminal Space</span></em><span style="font-size:11.5pt;">. Rowman and Littlefield.</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">———. 2018b. “Spatial Bricolage: The Art of Poetically Making Do.” </span><em><span style="font-size:11.5pt;">Special Issue, Humanities</span></em><span style="font-size:11.5pt;"> 7 (2): 43.</span><a href="https://doi.org/10.3390/h7020043"><span style="font-size:11.5pt;"> </span><span style="color:#1155cc;font-size:11.5pt;">https://doi.org/10.3390/h7020043</span></a><span style="font-size:11.5pt;">.</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">Steiner, Rudolf. 1923. “A Lecture on Eurythmy.” Archive. Rudolf Steiner Archive. August 26, 1923.</span><a href="https://rsarchive.org/Lectures/19230826p01.html"><span style="font-size:11.5pt;"> </span><span style="color:#1155cc;font-size:11.5pt;">https://rsarchive.org/Lectures/19230826p01.html</span></a><span style="font-size:11.5pt;">.</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">Stewart, Kathleen. 2011. “Atmospheric Attunements.” </span><em><span style="font-size:11.5pt;">Environment and Planning D: Society and Space</span></em><span style="font-size:11.5pt;"> 29 (3): 445–53.</span><a href="https://doi.org/10.1068/d9109"><span style="font-size:11.5pt;"> </span><span style="color:#1155cc;font-size:11.5pt;">https://doi.org/10.1068/d9109</span></a><span style="font-size:11.5pt;">.</span></p>
<p style="line-height: 1; text-align: left;"><span style="font-size:11.5pt;">Tuin, Iris van der, and Nanna Verhoeff. 2022. “Navigation.” In </span><em><span style="font-size:11.5pt;">Critical Concepts for the Creative Humanities</span></em><span style="font-size:11.5pt;">. Rowman & Littlefield.</span><a href="https://rowman.com/ISBN/9781538147733/Critical-Concepts-for-the-Creative-Humanities"><span style="font-size:11.5pt;"> </span><span style="color:#1155cc;font-size:11.5pt;">https://rowman.com/ISBN/9781538147733/Critical-Concepts-for-the-Creative-Humanities</span></a><span style="font-size:11.5pt;">.</span></p>
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