#conceptual mapping

[etalement]

Carte conceptuelle

Pour ceux qui sont visuelle, qui aime avoir une vue d'ensemble et faire des lien je conseille de faire des cartes conceptuelles.

Le logiciel que j’utilise: cmap mais il en existe plein d’autres

Exemple d’une carte: Electrostatique physique

[tempered-mind]

Mapping Recursion, A Redub (Document 6)

If I could map recursion again, I would take inspiration from a few pages of Douglas Hofstadter's, GEB. I reference 'Godel, Escher Bach: An Eternal Golden Braid' a lot purely due to it's relevance towards recursion, infinity, paradoxes and the concept of self... But also because I highly suggest taking the challenge to read it. It's intellectually stimulating and really gets you thinking about amazing things worth knowing. Just saying... :D

These are images within Chapter V - Recursive Structures and Processes.

"The fact that INT consists of nothing but copies of itself might make you think it's too ephemeral to exist. Its definition sounds to circular. How does it ever get off the ground? That is a very interesting matter." (pg 138-139)

This graph is ABSOLUTELY AWESOME and is worth really thinking about what it is implying. Visually we see the base level of abstraction. And you can see that the graph actually consists of warped and deformed copies of itself, rotated on different axis, which further consists of copies of themselves with infinite nesting. But it becomes circular, because from which abstraction does the 'first copy' originate?

[yupcamy-blog1-blog]

Assessment 1_ COFA1002_Conceptual Mapping

In our daily life, map is used for creating the relation of data and graphs, which is to represent the fact or scale that comes from statistics. Map is also use for leading direction in the actual world, giving out instructions using images and words or showing the trend of a topic in a certain period of time. In another word, tradition map consist of graphs and data and indicates in the way of figure, charts, geographic or topographic mapping. It is more of a way to deliver facts and data.

However, conceptual mapping is more of a development of tradition map. Conceptual mapping has a strong connection among ideas, images and explanations.  It is to capture the thoughts and concept in our mind and exploring them by making them into more specific structure.

From the research, I found out that Joseph D. Novak has developed the technique of concept mapping, which he had considered concept maps as “graphical tools for organizing and representing knowledge”.  To build a concept map, a focus idea is to be needed. Using cross-links and phrases among the areas of knowledge, process, outcome and further development of the focused idea, it is a logical arrangement of the conceptual process in our mind and leading us to convergent and divergent thinking. The hierarchical mapping of our concept allows us to develop logical skills and connect to other concepts, which has the ability to strengthen our understanding and promote us to creative thinking.

The form of conceptual mapping has a wide range of diversity. There is no limit of expressing a concept. Like Roger Cutforth’s art work “Noon Time Piece NYC 1969, Photo of sky everyday at noon” which is a documentary photographs that taken at a certain time of the day. The form of conceptual map can also be a sound clip, video, 3D model, drawing or other kind of forms.  So I made my conceptual map “The Skin of Paint” by mapping the lotions and make-up I use frequently ranging from body lotion, sunscreen and shampoo to perfume, nail polish and lipstick. The smell of the materials I have chosen also involve in the process of conceptual mapping. It is to explore the weight of artificial make-up we use in our daily life which paint us colourfully but may also posion us secretly.

  Referrence:

Joseph D. Novak & Alberto J. Cañas (2006). "The Theory Underlying Concept Maps and How To Construct and Use Them", Institute for Human and Machine Cognition. http://cmap.ihmc.us/Publications/ResearchPapers/TheoryCmaps/TheoryUnderlyingConceptMaps.htm

http://www.inspiration.com/visual-learning/concept-mapping

http://rogercutforth.com/conceptual_art.html#3

[emily-lowas]

Assessment 1 – Conceptual Mapping

Student Number: 3469974

What defines a map? On a daily basis, at the mention of a map we would most probably automatically think of various interconnected lines scrambling across a page, as it is what we as part of society are accustomed to. A map can be defined as a ‘diagrammatic representation of an area of land or sea showing physical features, cities, roads, etc.’

The purpose of a map is to serve as a visual aid; a representation of ideas to primarily satisfy our visual needs. My aim is to push the boundaries of what makes a map in order to break from its conventions. I will be doing this by creating a conceptual mapping of wind activity. Throughout the duration of my research I have discovered that a map does not necessarily have to have a sense of direction or various lines of different colors drawn onto a sheet. A map in itself can be seen as an artform, a piece of work done through not only skill but also the use of creativity and expression. This is portrayed perfectly by artist Matthew Cusick, who cuts pieces of maps, atlases, encyclopedias and many others and uses them as a basis to create beautiful portraits.

The inspiration behind my map was very simple: it has been derived from observations of the weather patterns in Sydney this past week. My map conveys the nature of wind movement, with the idea of natural phenomenon as the main concept underlying. I have done this by placing blobs of paint of the appropriate viscosity across the edge of a blank piece of paper, and let the wind carry and glide the black paint across to create abstract movements.

The simplicity of the map aims to withdraw attention from the presentation of the piece and rather draw more of it toward the actual concept and meaning behind it. My aim was to create a spark of realization in the minds of the audience. Such action has been achieved by HINT.FM, who have created a living portrait of the wind currents over the US. Although the dynamic movements of the lines on the map look fitting to its conventions, the artwork actually reflects the real-world.

The uneven textures that have been adapted by the paint not only show the ever-changing nature of air, but also serve as a symbol of human nature. Darker areas may represent one side of our emotional standing (sadness, melancholy, etc.) while he brighter ones represent the flipside (joy, calmness, etc). The length of the flow tells us the duration and amount of wind blowing that day. The different widths show the intensity of the blow during certain times. The transparency evident in the forms alludes to the invisibility of the wind, and how often we tend to overlook such a phenomenon.

Bibliography/Citations:

·       "map." oxforddictionaries.com. Oxford, 2013.

Web. 20 May 2013.

·       HINT.FM, . "wind.map." HINT.FM. N.p., n. d. Web. 20 Aug. 2013. <http://hint.fm/wind/>.

[ivinathalia]

[ivinathalia]

Assesment 1 - conceptual mapping (500 words)

A map is a common object for most of us, we as a kids a taught to read the symbol and sign of a map. Nevertheless, the real concept or meaning of a map is still blurring for me.  As to deepen my understanding I search the concept of a map through some research. A map can be defined as an illustrative representation of an area or a sea with the physical features such as cities, roads, etc. Map helps or navigates us to the destination that we want to achieve.

In history map have played an influential role, as an indicative of territorial and also the cause of territorial disagreement. But the role of a map keeps changing in this contemporary society. Maps are not just a two- dimensional piece of paper that represent the geographic and location of the world. However, map can be use for the basis or a concept of a piece of artwork such as, sculptures, portraits, paintings, and other work of art. By the reconstruction of the concept itself map can be valued as a conceptual artwork. The meaning of he conceptual artwork is the idea or concept that is most important. The idea becomes the machine that makes art. 

The artist that inspires me is Mike Knuepfel with his work entitled “Keyboard Frequency Sculpture”. This creative practitioner used the concept of mapping through data visualization. He is interested in 3D infographic and for his project he mapping the frequency of the usage of different letters in his keyboard. He set out a tower with varying height to indicate the usage of alphabet key.

The other work of art that inspires me is the exhibition entitled “Map Me” by Hugh Davies with the inspiration of network mapping. This artwork requires the participation for the audience. With the reference to the online networking platform such as My Space, Map me brings the act of networking, the connection, and the people reappear in real situation. The purpose of this work of art is to highlighting the culture of current digital networking surround. Using the wool, the visitor asked to “hyperlink” himself or herself to other visitor on the wall provided.

Since the idea of networking and frequency capture my attention, I decided to make a map based on the frequency of a location that I visit. The influence of Instagram as one of the famous social networking has made me realized it become the visual diary, where the written diary are no longer used. This indicates how people are changing in this contemporary society. Since I actively using my Instagram to record the places that I visit and how frequent it is, I collect the information of location and the number of the visit without realizing it, it become my visual diary. To present this idea use the media of watercolor. The bolder the water color is, that means I visited that place more often, while the softer the water color is, that’s the least location I visit. 

  Source:

http://analogueartmap.blogspot.com.au/

http://mobilesound.wordpress.com/2007/10/01/conflux-2007-map-me-by-hugh-davies/

http://lifestyle.inquirer.net/65676/wataru-sakuma-recasts-maps-of-metro-manila-into-conceptual-art

http://www.cmybacon.com/category/art/page/10/

http://www.cmybacon.com/2011/06/keyboard-frequency-sculpture/

[tempered-mind]

Conceptual Mapping - Task 1

The map Image I decided to use was an abrupt end to what I decided to represent, but the discovery I encountered upon the end of this image made me realise I had fallen victim to the trap of recursion. For an object to become recursive, it must first reference itself within its own rules. In doing so, you create a situation which if not contained, creates what we know in the computer science world as an 'Infinite Loop'. When a recursive algorithm falls into an infinite loop, quite often the computer simply will not know where the end of the program will occur, so it will continue to naively process loop after loop looking desperately for the end of the program while all other applications you had running would crash and fail.

When I was making the map, I wanted to map a system that was 'self referencing' and thus achieve a map that was self-explaining. Take this recursive phrase that I came up with, "Suppose, the phrase 'Suppose [suppose is a word] is a phrase' is obeyed in the rules of literary abstraction, Then..." I felt that every layer of abstraction you come to in going down a reference, you receive rules in separate 'realms' that define other parameters in the realm above it. Doing this, you could achieve an infinite level of self referencing and self description in a uniquely interesting way.

So I decided to reference the concept of recursion through a symbol. An 'R' if you will. And that symbol would be made of symbols of itself, which would be made up more symbols of itself, and using this idea, create a map with infinite referencing forwards and backwards . With the map above, I stopped at that particular moment because I had realised I had nested 6 levels of 'R' symbols within each other, and the image still appeared to look the same as when I started. At that moment as I stared into potential infinity, I felt like I had been there before... An experience such like 'Déjà vu'. Each time I nested a new set of R's to make another one, eventually the colour schemes I would use fade into the visual voids of infinite complexity as it descends further and further into minute forms of itself, and as it did so, so did I really understand what recursion is in a visual sense. I like to call it 'Paradoxical Territory'. In order to represent each 'system' of R as a different 'realm', I broke 'full scale' recursion while still allowing the idea to exist by colouring the entire 'R' of each system realm in a separate colour, although as these realms recursed down, the colours became lost in complexity, like the blue haze in two mirrors recursively reflecting each other.

While thinking about Déjà vu and it's relationship to recursion, I decided upon the idea that the sense of Déjà vu is a by-product of a living entity experiencing recursion. I say living entity, but I would like to lean my answer towards 'human'. It was at this point that I decided that doing the same operation to the image over and over put the man implementing recursion, into a recursive state. And that was enough for me.

[keyfa]

Assessment Task One: Conceptual Mapping

First of all, what is a map? I see a map as a form of communication that allows for someone to find direction or follow a particular path when using it. With this in mind, I responded strongly to the focus of communication. And how on a conceptual level, we communicate our ideas, and what these ideas mean to other people. My map, is therefore a visual progress of my insight into ‘communication.’

On a basic note, one would consider verbal communication, language. Yet as we think deeper, observe, one can denote the significance of hand gestures, posture, a smile, body language and already our thoughts begin to expand. Much like the work of Guy Debord, associated with PsychoGeography (“the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals”). Also in relation to the Situationist International movement, who used mapping to visually reflect peoples relationship with their environment.

Erik Brunetti, also influenced by the Situationist International movement, integrates an element of risk into his work that are heavily politically motivated. His work Lost (Black Female) is a collection of ‘lost’ cat and dog flyers gathered for over a decade whilst writing graffiti. This work maps his location, and again uses the flyers as a means to communicate- in this case loss, desperation and love. As this is the basis of my influence, I have used these original Situationist International related images as the background for my conceptual map.

Visually influenced by Rauchenberg, the incorporation of objects as well as images and mixed media allows for me to identify the conceptual significance of objects in relation to ‘communication.’ This ability to communicate and connect is inherent in us all. I feel this can be represented in the visual simplicity, yet unassumingly complex relationship with an object. And as I explore these objects, discern why we choose to associate with some more than others. Let me go through some examples. A bag perhaps, why does this person choose to wear this? Why is this feminine? Why is it useful? Why is it comfortable?  Or a water bottle, as something we need. Yet what does it represent or ‘communicate’? Anxiety, stress, drought, relief, nourishment, beauty, plastic, petroleum…

With reference to Joseph Koseth, in particular his work One and Three Chairs the inclusion of images of objects as well descriptions of these objects is also evident in my map. In Koseth’s work, the description, image and the actual chair each present ways of interpreting an object. In essence, one must consider why we can relate these three entirely different things, the object, image and description, as each being related to ‘a chair.’

Alleviated by this concept, the map recognises the significance of humans and their ability to communicate in this complex way. Much like the use of communication within Kruger’s graphic design like images, particularly her use of words, as well as Boranga’s sculptures with mouths, the map considers communication and it’s significant relationship with the human form.

The final outline of the figure over the collage, infers a crime scene. Metaphorically referencing the collaboration of evidence in order to find the solution. As artists, we must be the detectives. It is the collaboration of all these images and ideas that make up this image of ‘communication’, and in doing so, create my conceptual map.

Research Referencing- http://urbanculturalstudies.wordpress.com/2012/03/22/urban-voices-the-situationists-psychogeography-and-drift/

http://lizlangstaff.blogspot.com.au/2011/11/situationists-international.html

http://mappingweirdstuff.wordpress.com/2009/06/14/mapping-weird-stuff-psychogeography/