PM 029

This Primer Manufacture (PM) belongs to a collection set up by the Institute of Cartopology. The collection is an assembled compilation consisting of heterogeneous material related to cartopology in a particular way. Each PM is self-contained and simultaneously belongs to and supports the Forms of Expression.
The collection of PM’s is numbered and structured by sort, type and origin to retrieve a specific PM easier. To recognize a PM, there are two questions to answer: How does it relate to the cartopological context? and, what is the context the PM is taken from?

COLLECTION NR.: 

PM029 – BOOK

SORT:

English language

TYPE:

book

ORIGIN:

David MacDougal, The Corporeal Image: Film, Ethnography, and the Senses, (New Jersey: Princeton University Press) 32 – 63

CITATION:

CONTEXT OF PM :

Visual anthropology

RELATION TO CARTOPOLOGY:

Comparing cartpological maps with the qualities of visual anthropology reveals comparable mechanisms. 

‘To describe the hundreds of details apparent in a picture would require an exhaustive list that could never be taken in as a single entity, much less in its overall form and spatial relationships. It is probably wrong even to speak of a picture as describing, since the very term refers to the process of writing.’ (p35)

‘In the case of descriptions, it has had a similar impact on the selection and ordering of physical details. Since mental images derived from writing are cumulative, there is a limit to how many details can be remembered, and it also becomes important which are introduced earlier and which later. Written description also makes possible the isolation of certain details for emphasis or evocative purposes, just as in filmmaking the camera can pick out a particular object in a close-up. But this resemblance can be misleading. When alluding to a person in writing, it would be impossible (and unnecessary) to include repetitively each time the same information about how the person looked. Pictures are less discriminating in this regard; they are filled with redundancies (such as the appearance of a person) that writing can safely leave out. But by the same token, writing tends to elide the familiar redundancies of the world, with important consequences for how we think about it.’ (p48)