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on the possible problems with counter mapping and then what it can achieve despite the problems (Simpson, 2017)
Digital technologies are providing new avenues of ‘extra-activism’, (Kidd, ) in transmedia mapping, narrative and protest, described by Marisa Duarte (2017, p) as an “orchestrated assemblages” of devices, platforms, and messaging. These decentralised networks give a technological basis from which to destabilise modern colonialist efforts.
” demonstrate how counter-mapping by itself, as with any genre of data justice, can never be substituted for long term political organizing (Concepción, 2014). They demonstrate the importance of Indigenous control of data, a trans-media approach that builds on all the extant cultural and communications resources and ways of knowing of a particular group or movement. Echoing what MIT professor and data activist Sasha Costanza-Chock said at the Data Justice conference, they provide examples of data activism fused within larger projects of redistributive, transformative and restorative justice, which optimize their liberation and not the capitalist market (Costanza-Chock, 2018).”
direct-to-digital countermapping ‘Such processes are able to represent ‘complex, fuzzy, or multi attribute data’ that extend beyond Cartesian-based spatial representations of knowledge (Elwood, 2006, p. 696).’
Olson, R., Hackett, J. and DeRoy, S. (2016) ‘Mapping the Digital Terrain: Towards Indigenous Geographic Information and Spatial Data Quality Indicators for Indigenous Knowledge and Traditional Land-Use Data Collection’, The Cartographic Journal , 53(4), pp. 348–355. doi: 10.1080/00087041.2016.1190146.
p. 349-350
... Mentions
”[…] a sister term, counter-archive , coined by film and media scholar Paula Amad (2012).” ⤴️ ” ->
“critique of the tendency to perceive the human mind and archival storage as founded upon the same kinds of operations (see […] the discussion in Paula Amad’s Counter Archive (2010, p.117).” ⤴️ ->
“step from counter- to para- ,” ->
...
its implication on museums/similar - ‘fixed’ exhibits and recombinatory curation -
“Instead of imposing a grand narrative for a visitor to passively experience, the visitor is encouraged to actively explore and build their own connections and stories” - (Wolff and Mulholland, 2013)
“might choose to access the story in a different way and make different interpretations (Wolff and Mulholland, 2013)
“When the story is not overtly told, there is more opportunity for the visitor/reader to make their own interpretations” (Wolff and Mulholland, 2013)
“The curator might add their own annotations, interpreting the object in the context of the narrative that is being developed” (Wolff and Mulholland, 2013)