Jameson 2.0. Cognitive mapping in contemporary art

数字图像是基于双重危机的表现：一方面，数字数据的存在模式主要不是视觉的;图片表示不是它们的必要表现形式。另一方面，在一个数据驱动的世界里，人类观察者似乎不可能洞察或概述数据的生成和处理方式，这些数据决定了今天的世界。尽管或正是由于越来越多的视觉媒体和它们产生的数据，这个主题越来越不能够把握围绕它的算法整体。自18世纪以来，统计图表承诺让信息“一目了然”，但这不再适用于今天的数字环境。但是，该项目并没有用更强大的计算能力来应对可再现性的危机，而是依赖于来自艺术和视觉文化的示范性程序，通过数据结构、信息生成和解释来开发替代形式的再现和体验。其中包括马克·隆巴迪（Mark Lombardi）作为（模拟）历史先驱，特雷弗·帕格伦（Trevor Paglen），埃亚尔·魏茨曼（Eyal Weizmann）和法医建筑，战术技术集体，劳伦斯·阿布·哈姆丹（Lawrence Abu Hamdan），瓦利德·拉德（Walid Raad）或英格丽德·伯灵顿（Ingrid Burrington）。这些作品和实践将在认知映射的概念下被概念化。詹姆逊在其颇具影响力的著作《后现代主义或晚期资本主义的文化逻辑》（Postmodernism or the Cultural Logic of Late Capitalism，1991）中提出了这一概念。这一概念基于对全球化文化中迷失方向的诊断，即个人经验与决定个人经验的全球（经济）结构之间的裂痕，这种裂痕已经变得不可见和不可代表。詹姆逊提出要重新获得经验的一个维度和能动性的一个视角，对他来说，这包括在认知映射的理论和实践中。如果詹姆逊仍然可以被看作是一个历史的路线与诊断的损失经验的时代越来越抽象作为一个关键的主题的现代性，目前，数字“技术条件”（Hörl 2011），其数据和信息之间的任意性以及构成性的“数字图像的不可判定性”（Rubinstein，Sluis 2013）代表了艺术作品反应的不同起点。该项目希望研究艺术家如何干预数据作为信息的不同表现形式。本研究试图通过对数字图像处理的研究，揭示一个能动性的维度，并在此基础上，发展出一个在数字化条件下最新的艺术认知映射理论。

Digital images are based on a double crisis of representation: On the one hand, the mode of existence of digital data is not primarily a visual one; pictorial representations are not their necessary manifestation. On the other hand, in a data-driven world it seems impossible for the human observer to gain an insight or overview into the way data are generated and processed that determine today's world. Despite or precisely because of a growing number of visual media and the data they generate, the subject is less and less able to grasp the algorithmic totality that surrounds it. Since the 18th century, statistical diagrams have promised to make information visible "at a glance", but this no longer applies to today's digital environments. But instead of countering the crisis of representability with ever greater computing capacities, the project relies on exemplary procedures from art and visual culture that develop alternative forms of representation and experience via data structuring, information generation and interpretation. These include Mark Lombardi as (analogue) historical precursor, Trevor Paglen, Eyal Weizmann and Forensic Architecture, Tactical Tech Collective, Lawrence Abu Hamdan, Walid Raad or Ingrid Burrington. These works and practices are to be conceptualized under the concept of cognitive mapping. This concept - published by Jameson in his influential book Postmodernism or the Cultural Logic of Late Capitalism (1991) - is based on the diagnosis of a loss of orientation in globalized cultures, a rift between individual experience and the global (economic) structures that determine it, which have become invisible and unrepresentable. Jameson proposed to regain a dimension of experience and a perspective for agency that for him consisted in the theory and practice of cognitive mapping. If Jameson could still be seen in a historical line with the diagnosis of a loss of experience in times of increasing abstraction as a critical topos of modernity, the current, digital "technological condition" (Hörl 2011) with its arbitrariness between data and information and a constitutive "undecidability of digital images" (Rubinstein, Sluis 2013) represents a different starting point to which the artistic works react. The project wants to investigate how artists intervene in different manifestations of data as information. It wants to demonstrate a dimension of agency in dealing with digital images, and based on this research, develop an updated art theory of cognitive mapping under the condition of digitality.