In this vein, Jeremy Crampton has interpreted mapping as primarily an approach to “making sense of the geographical world” (2010, p. I pick up the book and turn it upside-down, wondering, if I ever see Targets in person, if I will ‘twist to read place names, reflecting the way airplanes swoop above the earth’ as Kozloff described. This particular map of the island of Lindisfarne took two months to make from start to finish; just the shading of the sea took over three hours! I offer a new theoretical framework for understanding how we go about the complex process of ‘seeing with maps’. Through Google Maps the bay appears as a beautiful sweep of dark blues, greens, grey and green patterns of the national park to the left, turquoise waters, and few signs of human habitation.

Kozloff is known for exploring feminist themes in her artwork, and was an original member of the Pattern and Decoration movement, prominent during the 1970s and 80s, particularly in the US.While Paglen does not regard the map as a privileged object of contemporary geographical inquiry, his work takes up David Harvey’s commitment to the political necessity for critical approaches to geography. This soundscape itself has a complex and shifting relationship with the visual register of representation in the work.

This world turned inside out captures something of the physical consequence of aerial warfare, in which buildings and bodies are ravaged and exposed. In 2019 she was thrilled to be the TEDx faculty speaker for the American International School – Riyadh, and used contemporary art and artists as models for contemporary multidisciplinary education as her topic.The height of the drone’s eye view is variable, and while emerging forms of weaponised and non-weaponised drones are increasingly able to operate at human height, critical discussion has so far focussed mainly on the higher altitude mode of drone viewing, which is also characteristic of contemporary military practices. I think the idea of drawing on top of something that already existed was appealing to them — or maybe a little bit scandalous.

My approach in this case draws on Hawkins’ discussion of the encounter with the artwork, but acknowledges that the nature of my encounter as a reader is not that of a spectator in the installation. While the human ‘inhabitant’ of the operator’s position is removed from directly inhabiting the viewpoint, and so is removed from direct danger, the viewpoint is also produced through the embodied, and positional, labour of many workers.A scratch card map by Ken PerkinsAn artist based in Denver, Colorado, Perkins specialises in scratchboard and pen and ink drawings. These concatenations of place names rely on reading left to right, but in the map we are not bound so strictly to read in a particular way, and so we may also read Congo-El Salvador-Cuba, Sudan-Libya-Iraq-Kuwait/Iraq-Yugoslavia-Peru. Every year since then those projects have been the subject of an exhibition hosted by the Map and Geospatial Hub: this year’s exhibition, Place and Space, opened on 7 November and runs until the 26th. To name the viewpoints in question – the view from nowhere, the panoptic view, the Apollonian view, the drone’s eye view, the god’s eye view, the antipodes, and immersive installation viewing. The god’s eye view performs a totalising viewing position, that constructs the viewed as knowable and legible.

The effectivity of this viewpoint, for Cosgrove, is to enrol practices of viewing and conceptualising the earth, from a point outside it, in discourses of globalisation. The artworks gathered here provide an opportunity to inquire into visual ways of knowledge-making, visual techniques and the resulting artefacts, working with the understanding of, or working with a theoretical commitment to, the recognition of social abstractions. Cut them, carve them, combine them with other materials, turn them into sculpture—they still come through and speak to us as maps. This ‘observer epistemology’ leads to deep anxiety about how we know and represent the world, how we know it to be true, and how we decide what to do in the face of such ‘objective knowledge’” (Pickles, 2006, p.Thinking of the artificial light of Targets’ interior, in relation to Guantanamo, brings up images from news and TV dramas of sound torture and sleep deprivation with bright lights, musicians protesting the use of their songs for torture, and the idea of music transforms into another tangential association, of Pete Seeger singing ‘Guantanamera’ [x]. It’s not possible by this method to learn very much at all about these places; my prevailing impression is that this place is unknowable from this perspective. Transform the essence of your cherished tunes into stunning, personalized wall art that speaks directly to your heart and soul. Building on this analysis of sonic symbolism, I read River Sounding in terms of its presentation of a ‘soundscape’ of the River Thames.