Location-aware Futures and the Map
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The document discusses the concept of geodesign and how maps and geospatial technologies can stage representations of the future. It argues that geodesign needs to go beyond neutral representations and efficiencies to consider relationality, complexity, empowerment, and questioning the conditions that enable certain futures to be envisioned over others. A critical geodesign is proposed that both visions alternative futures to address injustices, and perpetually questions the assumptions behind its own representations.
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Location-aware Futures and the Map
- 1. Location-aware futures and the map Matthew W. Wilson, PhD University of Kentucky Harvard University matthew.w.wilson@uky.edu @wilsonism 5 June 2015 Digital Landscape Architecture Dessau, Germany
- 2. Location-aware futures and the map Matthew W. Wilson, PhD is not a Designer. University of Kentucky Harvard University matthew.w.wilson@uky.edu @wilsonism 5 June 2015 Digital Landscape Architecture Dessau, Germany
- 3. Location-aware futures and the map Matthew W. Wilson, PhD University of Kentucky Harvard University matthew.w.wilson@uky.edu @wilsonism 5 June 2015 Digital Landscape Architecture Dessau, Germany
- 5. @wilsonism 5 Chris Bennett, 2014, Launch Site Satellite
- 6. @wilsonism 6 These materials are most recent manifestations within a long continuum of retentional techniques for the reproduction of humanity itself.
- 7. @wilsonism 7 Allan Schmidt, 1967, Lansing, MI retention
- 8. @wilsonism 8 Allan Schmidt, 1967, Lansing, MI retention [ disclose ] [ stage ]
- 9. @wilsonism 9 retention Twitter, 2014, Protests in Ferguson, MO [ disclose ] [ stage ]
- 10. @wilsonism 10 How does the map stage?
- 11. @wilsonism 11 How does the map stage? Who benefits from this staging?
- 12. @wilsonism 12
- 15. 15 geodesign quantified-self neogeography big data digital pharmaka to what we pay attention
- 16. 16 geodesign quantified-self neogeography big data digital pharmaka to what we pay attention and how we pay attention
- 34. @wilsonism 34 “The Bauhaus people understood that things could not be created independently of each other in space … without taking into account their interrelationships and their relationship to the whole. … Space opened up to perception, to conceptualization, just as it did to practical action.” (Lefebvre 1991 [1974], 124-5)
- 35. @wilsonism 35 “When it comes to the question of what the Bauhaus’s audacity produced in the long run, one is obliged to answer: the worldwide, homogeneous and monotonous architecture of the state, whether capitalist or socialist.” (Lefebvre 1991 [1974], 126)
- 36. @wilsonism 36 Andy Woodruff, Live MBTA Bus Speeds, Bostonography.com/Bus, 2013
- 37. @wilsonism 37 “I am not a historian. I am a landscape planner who looks toward the future.” (Steinitz 2012, 8)
- 38. @wilsonism 38 a better future?” (Esri 2013) “Can we design
- 39. @wilsonism 39 Paul Klee, 1927, Ships in the Dark
- 40. @wilsonism 40 “If there is a common “foundation” … that all the arts share…, this is not in the unity of what has been, but only in the unity of a common future: the “power of the future” is that most urgent of forces ...” (Grosz 2008, 86-7)
- 42. @wilsonism 42 common future future of the commons
- 43. @wilsonism 43
- 44. @wilsonism 44 “A new age of geography is dawning: the age of geodesign.” (Esri 2013)
- 45. @wilsonism 45 “A new age of geography is dawning: the age of geodesign.” (Esri 2013) “Today, geospatial technology, or GIS, is very valuable.” (Dangermond 2010)
- 46. @wilsonism 46 “A new age of geography is dawning: the age of geodesign.” (Esri 2013) “Today, geospatial technology, or GIS, is very valuable.” (Dangermond 2010) “We basically [said]: why aren’t more landscape architects… using GIS to inform their design decisions?” (Flaxman 2010)
- 47. @wilsonism 47
- 48. @wilsonism 48
- 49. @wilsonism 49 NCGIA Workshop on GIS and Design, 2008, Upham Hotel, Santa Barbara, CA
- 50. @wilsonism 50
- 51. @wilsonism 51
- 52. @wilsonism 52 representation and futurity
- 53. @wilsonism 53 representation and futurity neutrality and efficacy
- 54. @wilsonism 54 representation and futurity neutrality and efficacy relationality and complexity
- 55. @wilsonism 55 representation and futurity
- 56. @wilsonism 56 representation and futurity “first, ... increase the… understanding and… refine the definition [of the problem] and second, … to investigate the possible trade-offs between conflicting objectives and to identify unanticipated… characteristics of solutions.” (Densham 1991, 403)
- 57. @wilsonism 57 representation and futurity neutrality and efficacy
- 58. @wilsonism 58 representation and futurity neutrality and efficacy “These techniques remain largely unquestioned, conventional devices of inventory, quantitative analysis and legitimization of future plans.” (Corner 1999, 221)
- 59. @wilsonism 59 representation and futurity neutrality and efficacy relationality and complexity
- 60. @wilsonism 60 representation and futurity neutrality and efficacy relationality and complexity leveling the playing field empowerment
- 61. @wilsonism 61 representation and futurity neutrality and efficacy relationality and complexity leveling the playing field empowerment
- 62. @wilsonism 62 Steinitz, 2012, A Framework for Geodesign
- 63. @wilsonism 63 “This may be our next major challenge -- to make more complex landscape planning more readily understandable, in order to broaden public participation, and to improve decision making in support of a more equitable and sustainable future.” (Steinitz 2008, 74)
- 64. 64
- 65. 65 “It may be that what all the arts share is the aim of capturing the force of time… It is this goal that makes art itself eternal, always seeking a way to render time sensational, to make time resonate sensibly, for no art can freeze time or transform its forces except through the invention of new techniques, new forces and energies.” (Grosz 2008, 86-87)
- 66. 66 “It may be that what all the arts share is the aim of capturing the force of time… It is this goal that makes art itself eternal, always seeking a way to render time sensational, to make time resonate sensibly, for no art can freeze time or transform its forces except through the invention of new techniques, new forces and energies.” (Grosz 2008, 86-87)
- 67. 67 “It may be that what all the arts share is the aim of capturing the force of time… It is this goal that makes art itself eternal, always seeking a way to render time sensational, to make time resonate sensibly, for no art can freeze time or transform its forces except through the invention of new techniques, new forces and energies?
- 68. “It may be that what all the arts share is the aim of capturing the force of time… It is this goal that makes art itself eternal, always seeking a way to render time sensational, to make time resonate sensibly, for no art can freeze time or transform its forces except through the invention of new techniques, new forces and energies? 68 I propose that a critical geodesign is both a visioning of futures, to strike at socio-environmental injustices, as well as a perpetual questioning of the conditions that enable such representations.
- 69. 69 “It may be that what all the arts share is the aim of capturing the force of time… It is this goal that makes art itself eternal, always seeking a way to render time sensational, to make time resonate sensibly, for no art can freeze time or transform its forces except through the invention of new techniques, new forces and energies?