Between Maps and Territories: a generative feedback loop

Rasmus Holmboe; Jan Høgh Stricker

Between Maps and Territories: a generative feedback loop

Department of Arts and Cultural Studies

Abstract

This audio paper departs from an artwork made by Andreas Führer called The Map is Not The Territory D’Or; a score for a soundwalk in the town of Roskilde, Denmark. The basic sound materials used in the audio paper are 1) an interview in Danish with the artist, 2) a voice over of a theoretical text in English, and 3) recordings from performances of the piece, including walking, breathing exercises, and the sounds of ventilation systems and other environmental sound. By mingling these different materials, and by using ‘map’ and ‘territory’ as metaphors, the paper complicates issues of representation and materialism, suggesting that it can never be one or the other, but always both at once. The paper does not offer a hermeneutic interpretation of Führer’s piece; rather it is a performative appropriation that uses the piece as a machine for experimenting with the relations between artist and theorist, artwork, embodied experience and academic representation, all of which are categories rendered somewhat problematic by the format of the audio paper itself.

Original language	English
Journal	Seismograf/DMT
Issue number	Special Issue: Fluid Sounds
ISSN	2245-4705
Publication status	Published - 30 Aug 2016

Access to Document

http://seismograf.org/fokus/fluid-sounds/between-maps-and-territories

Cite this

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title = "Between Maps and Territories: a generative feedback loop",

abstract = "This audio paper departs from an artwork made by Andreas F{\"u}hrer called The Map is Not The Territory D{\textquoteright}Or; a score for a soundwalk in the town of Roskilde, Denmark. The basic sound materials used in the audio paper are 1) an interview in Danish with the artist, 2) a voice over of a theoretical text in English, and 3) recordings from performances of the piece, including walking, breathing exercises, and the sounds of ventilation systems and other environmental sound. By mingling these different materials, and by using {\textquoteleft}map{\textquoteright} and {\textquoteleft}territory{\textquoteright} as metaphors, the paper complicates issues of representation and materialism, suggesting that it can never be one or the other, but always both at once. The paper does not offer a hermeneutic interpretation of F{\"u}hrer{\textquoteright}s piece; rather it is a performative appropriation that uses the piece as a machine for experimenting with the relations between artist and theorist, artwork, embodied experience and academic representation, all of which are categories rendered somewhat problematic by the format of the audio paper itself. ",

author = "Rasmus Holmboe and Stricker, {Jan H{\o}gh}",

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N2 - This audio paper departs from an artwork made by Andreas Führer called The Map is Not The Territory D’Or; a score for a soundwalk in the town of Roskilde, Denmark. The basic sound materials used in the audio paper are 1) an interview in Danish with the artist, 2) a voice over of a theoretical text in English, and 3) recordings from performances of the piece, including walking, breathing exercises, and the sounds of ventilation systems and other environmental sound. By mingling these different materials, and by using ‘map’ and ‘territory’ as metaphors, the paper complicates issues of representation and materialism, suggesting that it can never be one or the other, but always both at once. The paper does not offer a hermeneutic interpretation of Führer’s piece; rather it is a performative appropriation that uses the piece as a machine for experimenting with the relations between artist and theorist, artwork, embodied experience and academic representation, all of which are categories rendered somewhat problematic by the format of the audio paper itself.

AB - This audio paper departs from an artwork made by Andreas Führer called The Map is Not The Territory D’Or; a score for a soundwalk in the town of Roskilde, Denmark. The basic sound materials used in the audio paper are 1) an interview in Danish with the artist, 2) a voice over of a theoretical text in English, and 3) recordings from performances of the piece, including walking, breathing exercises, and the sounds of ventilation systems and other environmental sound. By mingling these different materials, and by using ‘map’ and ‘territory’ as metaphors, the paper complicates issues of representation and materialism, suggesting that it can never be one or the other, but always both at once. The paper does not offer a hermeneutic interpretation of Führer’s piece; rather it is a performative appropriation that uses the piece as a machine for experimenting with the relations between artist and theorist, artwork, embodied experience and academic representation, all of which are categories rendered somewhat problematic by the format of the audio paper itself.

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