This document discusses the concept of "reorientations" through the lens of several thinkers and art projects. It analyzes Olafur Eliasson's "The Weather Project", praising how the installation challenges traditional notions of art by making the viewers part of a dynamic scene. The document also discusses Keller Easterling's work examining the intersection of architecture, logistics, and organization at large geographic scales. It concludes by noting William Gibson's observation that in our globalized world, there are "no maps for these territories," underscoring the need to continually reorient ourselves to our ever-changing surroundings.

1. tone megrunn berge emergingarcticlandscapes.blogspot.com #5 - reorientations
THERE ARE NO MAPS FOR THESE TERRITORIES
“And yet it is important to emphasize that the or big, embed the qualities that we have argued for and worked
e l e m e n t o f s u r p r i s e , t h e u n e x p e c t e d , t h e o t h e r, i s towards throughout the studio?
crucial to what space gives us.” R e o r i e n t a t i o n s m e a n s t o ‘ f i n d o n e ’s p o s i t i o n a g a i n a n d a g a i n i n
o n e ’s r e l a t i o n t o o n e ’s s u r r o u n d i n g s . ’ ( t h e f r e e d i c t i o n a r y. c o m )
( D o r e e n M a s s e y, F o r S p a c e . 2 0 0 5 / 2 0 11 , p . 11 2 )
When Doreen Massey under the label ‘reorientations ‘ gives us
some hints towards projects that evokes interest in this specific
regard she mentions some projects that have an element of
c h a n c e i n t h e m : A l d o v a n E y c k , A m s t e r d a m C h i l d r e n ’s H o m e
a n d S c u l p t u r e p a r k i n A r n h e m a n d B e r n h a r d Ts c h u m i , P a r c d e
l a Vi l l e t t e . I w i l l n o t g o s o m u c h i n t o t h e s e p r o j e c t s , b u t s p e n d
some more time reflecting upon a piece of art which certainly
h a s c a p t u r e d m a n y o f i t ’s a u d i e n c e , i n c l u d i n g D o r e e n M a s s e y.
S h e w r i t e s a b o u t O l a f u r E l i a s s o n ’s T h e We a t h e r P r o j e c t : ‘ I t i s
Through the reading of Doreen Massey this studio has challenged
impossible to encounter something with no preconceptions at
( m i s ) c o n c e p t i o n s a b o u t s p a c e a n d i t ’s i n e v i t a b l e i n t e r c o n n e c t i o n
all, but the full recognition that the encountered is also moving
with time: ‘Space is an open ongoing production’ (D.M, For
o n a t l e a s t s l i g h t l y d i s t u r b s o n e ’s c o n f i d e n c e i n t h e f a c t t h a t
Space. 2005/2011, p. 55.) Through readings of Allen/Sauter
these expectations will be met. An encounter is always with
the concept of vulnerability was introduced an along with
something ‘on the move’. The voyager is not the only active one.
the concepts of Flexibility (G. Bateson) and New Hierarchies
Origin and destination have lives of their own. This project of
(Deleuze&Guattari) strong theoretical tools for developing a
undoing that traditional counterposition of active subject and
‘thinking that is every bit as fluent as the system you are
p a s s i v e o b j e c t i s a n e l e m e n t i n O l a f u r E l i a s s o n ’s p r a c t i c e . H e
t h i n k i n g a b o u t ’ , h a s b e e n f o u n d e d f o r. I n F o r S p a c e D o r e e n
challenges the static, given, implacable ‘objecthood’ of art.’
Massey accentuates that one way chance has become integral to
( D o r e e n M a s s e y, S o m e T i m e s o f S p a c e / T h e We a t h e r P r o j e c t .
thinking about space is through architecture (d.M,For Space.
2003, p.107-118.)
2005/2011, p. 112).
T h e We a t h e r P r o j e c t f u l f i l l s t h e p o t e n t i a l o f b e i n g s o m e t h i n g
I t w a s Ts c h u m i w h o s a i d t h a t t h e o n e t h i n g t h a t m a k e s t h e w o r k
larger than itself. It deals with a topic that everyone has a
of architects ultimately different from the work of philosophers
r e l a t i o n t o - t h e w e a t h e r. I n f r o n t o f t h e r i c h l i g h t i n g t h e a u d i e n c e
i s m a t e r i a l i t y. E v e n t h o u g h t h i s s t a t e m e n t c a n u n d o u b t e d l y b e
becomes a part of the scene. ‘Eliasson has sought to bring a
discussed -how can architecture, constant or ephemeral, small
part of London into the building, and through the experience

2. tone megrunn berge emergingarcticlandscapes.blogspot.com #5 - reorientations
and memory of the work, a part of it is taken back out into the Such cartographies are challenges to handle, and at certain
c i t y b y t h e v i e w e r. ( t a t e . o rg . u k / e x h i b i t i o n s / m o d e r n / e l i a s s o n / scales they are inevitably becoming massive -the possibilities
understanding). The piece is not limited to the memories and and challenges that come with globalization are immense. Keller
the experience in the turbine hall. It is informed by members E a s t e r l i n g i s a n a s s o c i a t e p r o f e s s o r a t Ya l e , a r c h i t e c t a n d w r i t e r
of the staff at the museum, and it contains a survey of peoples who often deals with these scales, ‘so massive it is sometimes
a t t i t u d e s / e x p e c t a t i o n s t o t h e w e a t h e r. T h e s i g n i f i c a n t s i d e o f invisible’ (M. White, Urban Slot Machine, Archinet Features,
the project in our regard is how it communicates the dynamic 2006) In Organization Space (1999) and Enduring Innocence
f r a m e o f o u r e v e r y d a y l i v e s . T h e w e a t h e r m e d i a t e s t h e c i t y. (2005) Easterling handles geopolitical questions. She works
T h e c i t y m e d i a t e s t h e w e a t h e r. at the nexus between architecture, logistics and organization
and there is a clear a political mode of analysis in her way of
T h e t i t l e o f t h i s l e c t u r e i s i n s p i r e d b y Wi l l i a m G i b s o n ’s N o w o r k i n g w i t h a r c h i t e c t u r e . O n e o f E a s t e r l i n g ’s c h a r a c t e r i s t i c s
M a p s F o r T h e s e Te r r i t o r i e s , 2 0 0 0 . ‘ Wi t h q u i c k - c u t i m a g e s a n d is how she uses an elegant and inventive vocabulary as a mean to
reflections upon the globalized world Gibson sets out en route map spatial qualities in structures/systems that are not usually
America, and points out that Maps are truly good reminders of considered within the realm of architecture. ‘This way she forges
of how profound the changes have been in the world the last n e w c o n c e p t s a n d w i t h t h e m n e w p o s s i b l e s t r a t e g i e s . ’ ( F. S c o t t ,
decades, and these changes tells a great deal about how it is to ‘ D i s p o s i t i o n ’ b y K e l l e r E a s t e r l i n g a t Av e r y H a l l , 2 0 1 0 . ) Wi t h
be human -the only animals that make maps after all.’ (imdb. definitions such as ‘spatial products’ and ‘techniques of power’
com) and repositioning infrastructure not merely as some structure
between nodes in our lives, but as the underlying technique
A m o n g s t p o s s i b l e r e f e r e n c e s t o G i b s o n ’s s c r e e n I w a n t t o b r i n g for political organization Easterling works with geopolitical
some attention to the notion of globalization and the notion questions -ethical and political questions becomes the core of
o f m a p s . To b e c r i t i c a l t o w a r d s t h e m a k i n g o f m a p s i s c r u c i a l what the architect does.
for many reasons and we have discussed them throughout the
s e m e s t e r. F o r o n e , t h e w a y w e m a k e m a p s d e c i d e h o w w e l o o k u p o n The way of means are countless, so are also the levels of
the world, and for another, the way we make maps decide which approach.Either way Doreen Massey challenges us to ‘re-
alterations we can do to the spaces we have mapped (Catharina imagine spaces for these times and face up to their challenge.’
Gabrielsson). One example that elucidates how networking,
both in technological terms and as human relations results in a
dynamic mapping process is Ecosistema Urbano with Stortorget
i n H a m a r. T h e y d e m o n s t r a t e a n o p e n a n d i n c l u d i n g s t r a t e g y f o r
the design of the town square. Through an elaborate network
design process common knowledge and interests are constantly
being remapped and the site has been relocated in the sense that
it is now a hotspot for discussions and engagement possibly
from all over the world. The complexity of the network that
embeds the Hamar process is truly a ‘cartography with loose
ends and ongoing stories.’(D.M, For Space. 20005/2011, p.107)

3. tone megrunn berge
tone megrunn berge emergingarcticlandscapes.blogspot.com #5 - reorientations
emergingarcticlandscapes.blogspot.com #5 - reorientations
NO MAPS FOR THESE TERRITORIES
William Gibson, No Maps for t h e s e Te r r i t o r i e s
image courtesy:
Yo u t u b e

4. tone megrunn berge emergingarcticlandscapes.blogspot.com #5 - reorientations
THERE ARE NO MAPS FOR THESE TERRRITORIES
list of templates
clip from documentary film 'there are no maps for these terrirories' Gibson
Williams
bp3.blogspot, ‘Brenselstaver’ in gallery
Mikkel Macalinden, Brenselstaver
the sun and the reflective ceiling,
the mist and
t h e r e a r s i d e o f t h e i n s t a l l a t i o n O a l f u r E l i a s s o n , T h e W e a t h e r P r o j e c t , T AT E
Promotional campaign for the weather Project, Practice, UK
Pirates, Mikkel Maclinden
F o l i e , B e r n a r d Ts c h u m i
adiscontinuous building, but a single structure never the less,
B e r n h a r d Ts c h u m i
s p a t i a l j u x t a p o s i t i o n , B e r n a r d Ts c h u m i
p o i n t , l i n e , s u r f a c e , B e r n a r d Ts c h u m i
l a b y r i n t h c l a r i t y, A l d o v a n E y c k
A quiet night in, Mikkel MAcalinden
Improv everywhere, Frozen grand central
Keller Easterling, The Double, 1997
Keller Easterling, Sarajevo 2000
Air Tree, Ecosistema Urbano
Dream Hamar, Ecosistema Urbano