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

这个项目试图扩展Gilles Deleuze和Félix Guattari所陈述的思想的“根茎”形象之一，制图，通过它作为一个镜头，通过它来审视与一个被忽视的具有历史和精神重要性的遗址相关的社区项目。继Deleuze和Guattari之后，制图在这里被认为不是将物理世界系统地呈现为表现，而是一种理解信息多样性的方式。地图阐明了可能是可见的、可听的、可触摸的、可追踪的、可想象的地理。所讨论的地点是南沃克的十字架纪念园，曾经是一个叉子未被分割的墓地，被重新命名为一个被遗弃的死者的纪念园。这里描绘的特定的相互交织的关系，记忆和情感，是这个地点的命脉。这关系到记忆和情感，体现在网站的物质元素中，更重要的是，记忆和情感的流动与表演和亲属关系有关。以这种方式重塑一个地区的地图，开始挑战将表现和物质性限制在特定地点或时间的框架，而是试图确定创造性实践的痕迹，因为它们是由身体携带的。通过这种方式，性能不满足某个有限的分辨率；相反，帧本身通过内存流和影响流映射到更多的帧中。

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.