The following is an abstract that was submitted to a Journal this week.
Title: GPS Tracings: Personal Cartographies
Tracey P. Lauriault in conversation with Jeremy Wood about his new media driven cartographic art: GPS tracings, their amalgam, and his installations.
Artist/Cartographer: Jeremy Wood, a US & UK Artist based in London England. Interviewer: Tracey P. Lauriault, Researcher, Geomatics and Cartographic Research Centre, Ottawa, Canada.
Jeremy Wood, places, code and GPS are the protagonists in his personal cartographies. He plots the journeys; bicycles, boats, planes and his two feet provide him mobility; geography is the precept and these are mediated by the communication infrastructure. Land, water, air and the engineered environment of places determine the routes, are the medium within which his body moves and are the settings where he performs his traces. Time, location, and established measurement standards, along with geodetic models, radio signals, software, the language of culture and place encode the narrative voice. GPS is his cartographic rendering tool, it is what points, traces, locates and recounts. Cartography is his narrative mode, it is that which conveys his personal narrative.
This article will be derived from and mediated by telephone, skype, email and on-line chat conversations. We will discuss Jeremy’s personal cartographies, how these journeys tell him where he is, has been and potentially where he is going. These are personal cartographies, the result of individual journeys that he is in the process of assembling. His GPS tracings make us privy to his personal data, which tell us something about him while questions about science, cartography, and technology also become conspicuous. We will focus on the Data Cloud outdoor installation, the Meridians performance and the assemblage of his GPS tracings since the year 2000 into a metamap.
Jeremy’s work is playful yet it also critically foregrounds the fallacy of technological accuracy and how imprecise stories can be. Where he is and where things are positioned, are inaccurate from a GPS point of view, since GPS is engineered imprecision. This lack of specificity changes the location of things in space ever so slightly, but just enough to confound physical reality as we see in the Data Cloud outdoor installation. But alas, are stories ever definitive accounts of an experience? And what of the models by which we understand the world? What if we are between spatial models and some spaces are no where to be seen? Does that mean the place does not exist? What does it mean to be there but lost in space? What does it mean for a place to exist in the first place? His Meridians performance of the Herman Melville quote It is not down in any map: true places never are, elucidates this spacial conundrum in both literal and metaphorical terms. He traces the words along two meridians that do not meet yet these are drawn according to two different but scientifically approved mathematical models of the earth, GMT and GRS80. Ironically true places is written in Greenwich Park the very same location where time and space were established as a standard in 1884.
Our conversations will include the above and what he thinks his multiple short cartographic stories will become when assembled; what he expects to read from the metamap of those journeys; and a bit about the different software he has used overtime to help him render these personal cartographies. We will also discuss how he came to be enamoured with maps and map making.
We hope to intersperse text with illustrations of his work.
References:
Meridians was commissioned by the University of Minnesota Design Institute for ELSE/WHERE MAPPING: New Cartographies of Networks and Territories 2006, published by the Design Institute and distributed by University of Minnesota Press.
Data Cloud was commissioned by Tom Jaspers for the Checking Reality exhibition at Platform 21