Affective Cartographies: Mapping the artistic-bodies of Southwark's Outcast Dead

这个项目试图扩展Gilles Deleuze和f<s:1> lix Guattari关于他们的“根茎”思想图像的原则之一，将其作为一个透镜，通过它来检查与一个被忽视的历史和精神重要性的地点相关的社区项目。继德勒兹和瓜塔里之后，地图学在这里被认为不是将物理世界系统地呈现为表征，而是作为一种理解信息多样性的模式。地图阐明了可以看得见、听得到、摸得到、可追溯、可想象的地理位置。这个地点是位于南华克的十字骨纪念花园，这是一个曾经被遗忘的非神圣的墓地，被开垦为“被遗弃的死者”的纪念花园。在这里，记忆和情感交织在一起，成为场地的命脉。这涉及到记忆和情感，体现在场地的物质元素中，至关重要的是，记忆和情感的流动与表演和亲属关系有关。以这种方式重新定义一个领域的地图，挑战了对特定地点或时间的表演和物质的框架，而不是试图确定创作实践的痕迹，因为它们是由身体携带的。这样，性能就不满足某些有限分辨率；相反，这个框架本身会分解成更多的框架，通过记忆和情感的流动来映射。

This project attempts to expand one of Gilles Deleuze and Félix Guattari's stated principles of their'rhizomatic' image of thought, cartography, by using it as a lens through which to examine thecommunity project associated with a much-overlooked site of historical and spiritual importance.Following Deleuze and Guattari, cartography is considered here not as the systematic rendering ofthe physical world into representation, but as a mode of apprehending multiplicities of information.The map elucidates geographies which may be visible, listenable, touchable, traceable, imaginable.The site in question is Crossbones Garden of Remembrance in Southwark, a once-forgottenunconsecrated burial ground, reclaimed as a memorial garden for the 'Outcast Dead'. The particularintertwining relations mapped here, memory and affect, are situated as the lifeblood of the site. Thisconcerns memory and affect as embodied in the material elements of the site, and crucially, theflows of memory and affect attached to performance and kinship. Refiguring the map of a territoryin this way sets out to challenge the framing of performance and materiality as bound to a particularplace or time, instead attempting to pin down the traces of a creative practice as they are carried bybodies. In this way, the performance does not meet some finite resolution; rather, the frameself-breaks into many more, mapped by flows of memory and affect.