Papers by Maureen O'Neill
Lines between: writing/drawing, space and the artists’ book is an interdisciplinary exchange betw... more Lines between: writing/drawing, space and the artists’ book is an interdisciplinary exchange between Interior design and Illustration. The artists’ book acts as a hinge between 2D drawing/writing practices and 3D space to generate material propositions for major project briefs and to develop new forms of disciplinary representations. The book supports an engagement with space that is located in embodied experience and the generation of ideas through the dance of writing, the play of text and the tactile engagement with visual images
Abstract: This project aims to explore how sketchbooks can empower people to re-discover their cr... more Abstract: This project aims to explore how sketchbooks can empower people to re-discover their creative
potential and examine ways to collaborate with library groups covering a variety of backgrounds
and minority groups. The presentation will describe the establishment of The Visual Libraries Project
and its vision for the future through expansion. It will conclude with recommendations for other libraries
interested in collaboration. Sketchbooks offer potential as a medium of expression for all, by
means of drawing, note-taking, creative writing and collecting. Children do not question that they can
be creative, but as we grow older, our confidence in expressing ourselves through writing texts or
making objects and images recedes. This project promotes a creative way for individuals to express
ideas, communicate concepts, provide a space and opportunity to question, reflect and express their
individual voice. Historically, libraries have not been places where people were encouraged to write
or draw in books. Funding was provided to facilitate workshops and international links with Portsmouth
City Library, British Council Library in Chennai, India, Forsyth County Public Library and Wake
Forest University in Winston-Salem, North Carolina. Work created for the project is celebrated in a
range of ways, including lectures, exhibitions, online publishing and the creation of a documentary
film with the aid of a BBC cameraman. The project is building on the clearly successful initial stage
to demonstrate that it can work positively and creatively with a range of groups, including children,
young adults, people with physical and learning disabilities and the housebound From a library perspective,
an aspiration for the future is that the project promotes the use of libraries among individuals
who wouldn’t see themselves as traditional library users, and encourages users of libraries to be more
pro-active.
Keywords: Sketchbooks, Libraries, Communication, Collaboration
Abstract: The production of artists’ books is a creative way, through traditional and contemporar... more Abstract: The production of artists’ books is a creative way, through traditional and contemporary methods, that students
involved in various specialisms can promote their concepts by self-publishing. A systematic collection of artists' books
within the School of Art, Design and Media at the University of Portsmouth began 15 years ago. The books were not archived
and were difficult to access by students. It was my belief that the Internet could provide a platform to enable students to
retrieve textual and visual information about this collection, whilst ultimately inspiring them to contribute, thus potentially
diversifying and democratising the collection. With a growth in the field of artists’ books supported by calls for entry for
exhibition, book fairs and conferences internationally it seemed important for the students to have the potential to develop
appropriate methodologies to embrace and become involved in this re- emerging area with its potential as a medium of
expression that allows for multidisciplinary solutions. This paper will outline how Internet access to a visual database can
be utilised supporting face-to-face teaching to promote and encourage diversity and democracy in the production of artists’
books. It will describe the establishment of ‘The Ministry of Books’ website outlining the mechanics and use of the site.
How, currently ongoing, it is beginning to act as an aggregated archive and gallery space drawing together reflection and
review with, design and production, allowing creativity and knowledge acquisition to establish how we relate to the ‘book’
and the structures that underpin them. I will discuss my intentions to use it to promote and support the dissemination of
artists’ books to a wide and varied audience through production, curation and exhibition of works encouraging links and
collaboration with other institutions, galleries, bookshops, libraries, and museums who specialise in artists’ book collections.
Keywords: Artists’ Books, Self-Publishing, Visual Databases, Bookworks, Book Archives
Books by Maureen O'Neill
Emerging in the early 1960’s, Mail Art saw the distribution of artworks utilizing the postal syst... more Emerging in the early 1960’s, Mail Art saw the distribution of artworks utilizing the postal system. Artist Ray Johnson pioneered the movement, inspired by an interest in collage and ephemeral techniques. Since it’s creation, Mail Art has been disseminated across the world, with makers from Australia to America. The artworks, in-keeping with Johnson’s practice, are typically hand crafted, bound, stamped and collaged.
Inspiration stemmed from the anti-establishment Fluxus and Dada movements, implying that Mail Art is motivated by non-conformity.
In the early 2000’s, noted British Mail Artist Patricia Collins donated her extensive collection of correspondence to the University of Portsmouth’s Illustration Department. The gifted works total eight, twenty-six litre storage boxes, each housing diverse artworks.
The brief for this work was set by Oliver Tubb MRes. student at the University of Portsmouth. It was to create a unique piece of artwork inspired by Mail Art, whilst responding to the given theme of 'EXCHANGE'. Once complete, the works should be posted.
The BA (HHONS) Illustration Course at the University of Portsmouth offers students the
opportuni... more The BA (HHONS) Illustration Course at the University of Portsmouth offers students the
opportunity to question, reflect and analyse their own work and its commentary in the context of the work of other designers, filmmakers, painters, sculptors, writers etc. We provide an
educational experience allowing students to understand their role as a cultural producer in a
broad social, political and historical context.
The Illustration Course has a strong research identity and encourages students to develop
a breadth of knowledge and expertise in a variety of fields which include: illustration,
typography, photography, drawing, artist’s book, web design, animation, graphic design
and print. The emphasis on research supports the students in their choice of
media and specialisms. As part of the course the students also gain experience of: verbal
presentations; working to deadlines; working within groups; organizing exhibitions and
related publicity as well as developing their own independent learning programme.
What do we expose when we ask people to draw the outline of the country they live in and also ask... more What do we expose when we ask people to draw the outline of the country they live in and also ask them to mark the location of three cities: London, Birmingham and the city in which the exercise is being delivered, Portsmouth. It is a shape that they have seen numerous times through cultural, political, historical and geographical information. Forty maps were drawn and with a sense of humour as an underlying theme a selection of these can be viewed evidencing that some: incorporate map conventions, others that local knowledge is disproportionate, a large proportion of the map is made up, some do not fit on the page and then there are those that give good spatial information and you may get from A to B with them.
This digital book evidences a project investigating the design factors that facilitate the myster... more This digital book evidences a project investigating the design factors that facilitate the mystery of artistic and design expression to communicate the notion of mapness. The objective of the case study was to provide me with some insight into the conceptualisation of ideas and mediums that a visual person would bring to the problem of mapping a journey through an internal space. How would the illustrator deal with the preconceptions that would come from an unconsciously acquired understanding of cartographic conventions?
Presentations by Maureen O'Neill
This document brings together materials produced for and during a PhD by Design study and worksho... more This document brings together materials produced for and during a PhD by Design study and workshop day held at Leeds College of Art on May 14th 2015. This day was dedicated to exploring multiple possibilities of innovatively disseminating practice based design research.
Project Reports by Maureen O'Neill
Archiving and disseminating practice based PhDs in their entirety to support future students and ... more Archiving and disseminating practice based PhDs in their entirety to support future students and staff.
This report describes the establishment of The Visual Libraries Project,
subsequent international... more This report describes the establishment of The Visual Libraries Project,
subsequent international visits to the USA and India, outcomes, project
extensions and a vision for the future through expansion.
Conference proceedings by Maureen O'Neill
This document brings together materials produced for and during a PhD by Design study and worksho... more This document brings together materials produced for and during a PhD by Design study and workshop day held at Leeds College of Art on May 14th 2015. This day was dedicated to exploring multiple possibilities of innovatively disseminating practice based design research.
Graphic design: Maria Portugal
Practice-based PhD by Maureen O'Neill
This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound tex... more This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound text with reference images which can be read by clicking on the thesis section where you can view all of the chapters, the appendices and references. The practical element is shown in the 13 projects section and includes artists' books, experiments, prints, multiples and a lecture. These projects investigate three main themes:
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound tex... more This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound text with reference images which can be read by clicking on the thesis section where you can view all of the chapters, the appendices and references. The practical element is shown in the 13 projects section and includes artists' books, experiments, prints, multiples and a lecture. These projects investigate three main themes:
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound tex... more This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound text with reference images which can be read by clicking on the thesis section where you can view all of the chapters, the appendices and references. The practical element is shown in the 13 projects section and includes artists' books, experiments, prints, multiples and a lecture. These projects investigate three main themes:
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound tex... more This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound text with reference images which can be read by clicking on the thesis section where you can view all of the chapters, the appendices and references. The practical element is shown in the 13 projects section and includes artists' books, experiments, prints, multiples and a lecture. These projects investigate three main themes:
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
This thesis explores how our notion of mapness is related to our knowledge, reading and understan... more This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
Abstract
This Practice-Based Ph.D. thesis is in two sections, the written element presented as a... more Abstract
This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound text with reference images which can be read by clicking on the thesis section where you can view all of the chapters, the appendices and references. The practical element is shown in the 13 projects section and includes artists' books, experiments, prints, multiples and a lecture. These projects investigate three main themes:
Map types: a series of visual investigations to plot map types.
Map construction processes: a series of artefact productions on investigative themes.
Map attributes: a series of artefact productions experimenting with map attributes.This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
One: Introduction "I made the map of the island; it was elaborately and (I thought) beautifully c... more One: Introduction "I made the map of the island; it was elaborately and (I thought) beautifully coloured; the shape of it took my fancy beyond expression; it contained harbours that pleased me like sonnets; and with the unconsciousness of the predestined, I ticketed my performance `Treasure Island'. I am told there are people who do not care for maps, and I find it hard to believe. The names, the shapes of the woodlands, the courses of the roads and rivers, the prehistoric footsteps of man still distinctly traceable up hill and down dale, the mills and the ruins, the ponds and the ferries, perhaps the Standing Stone or the Druidic Circle on the heath; here is an inexhaustible fund of interest for any man with eyes to see or two-pence worth of imagination to understand with! No child but must remember laying his head in the grass, staring into the infinitesimal forest and seeing it grow populous with fairy armies. Somewhat in this way, as I paused upon my map of `Treasure Island',the future characters of the book began to appear there visibly among imaginary woods; and their brown faces and bright weapons peeped out upon me from unexpected quarters as they passed to and fro, fighting and hunting treasure, on these few square inches of a flat projection." (Stevenson, 1905) I still remember vividly the pure joy and excitement of the geography class when asked to draw a map and then placing the names of continents, seas, oceans and rivers. I knew nothing of the intricacies of cartography but even then complex decisions about different information, hierarchies, where and how to place it, came into play. When interviewed by my careers officer at the tender age of 16 and having faithfully answered all of his questions about what my strengths were and what I enjoyed, he informed me that I had the right attributes for a career in town planning. However I never chose the path of the architect, civil engineer or cartographer. Nevertheless, I have always enjoyed maps, not just for their ability to satisfy my needs as a user, but because they stimulate me with their aesthetics. My education and subsequent professional endeavours are in the field of Graphic Design, as a typographer/designer. Now currently working in education my design work has moved from pure Graphic Design to visual research and the production of 4
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Papers by Maureen O'Neill
potential and examine ways to collaborate with library groups covering a variety of backgrounds
and minority groups. The presentation will describe the establishment of The Visual Libraries Project
and its vision for the future through expansion. It will conclude with recommendations for other libraries
interested in collaboration. Sketchbooks offer potential as a medium of expression for all, by
means of drawing, note-taking, creative writing and collecting. Children do not question that they can
be creative, but as we grow older, our confidence in expressing ourselves through writing texts or
making objects and images recedes. This project promotes a creative way for individuals to express
ideas, communicate concepts, provide a space and opportunity to question, reflect and express their
individual voice. Historically, libraries have not been places where people were encouraged to write
or draw in books. Funding was provided to facilitate workshops and international links with Portsmouth
City Library, British Council Library in Chennai, India, Forsyth County Public Library and Wake
Forest University in Winston-Salem, North Carolina. Work created for the project is celebrated in a
range of ways, including lectures, exhibitions, online publishing and the creation of a documentary
film with the aid of a BBC cameraman. The project is building on the clearly successful initial stage
to demonstrate that it can work positively and creatively with a range of groups, including children,
young adults, people with physical and learning disabilities and the housebound From a library perspective,
an aspiration for the future is that the project promotes the use of libraries among individuals
who wouldn’t see themselves as traditional library users, and encourages users of libraries to be more
pro-active.
Keywords: Sketchbooks, Libraries, Communication, Collaboration
involved in various specialisms can promote their concepts by self-publishing. A systematic collection of artists' books
within the School of Art, Design and Media at the University of Portsmouth began 15 years ago. The books were not archived
and were difficult to access by students. It was my belief that the Internet could provide a platform to enable students to
retrieve textual and visual information about this collection, whilst ultimately inspiring them to contribute, thus potentially
diversifying and democratising the collection. With a growth in the field of artists’ books supported by calls for entry for
exhibition, book fairs and conferences internationally it seemed important for the students to have the potential to develop
appropriate methodologies to embrace and become involved in this re- emerging area with its potential as a medium of
expression that allows for multidisciplinary solutions. This paper will outline how Internet access to a visual database can
be utilised supporting face-to-face teaching to promote and encourage diversity and democracy in the production of artists’
books. It will describe the establishment of ‘The Ministry of Books’ website outlining the mechanics and use of the site.
How, currently ongoing, it is beginning to act as an aggregated archive and gallery space drawing together reflection and
review with, design and production, allowing creativity and knowledge acquisition to establish how we relate to the ‘book’
and the structures that underpin them. I will discuss my intentions to use it to promote and support the dissemination of
artists’ books to a wide and varied audience through production, curation and exhibition of works encouraging links and
collaboration with other institutions, galleries, bookshops, libraries, and museums who specialise in artists’ book collections.
Keywords: Artists’ Books, Self-Publishing, Visual Databases, Bookworks, Book Archives
Books by Maureen O'Neill
Inspiration stemmed from the anti-establishment Fluxus and Dada movements, implying that Mail Art is motivated by non-conformity.
In the early 2000’s, noted British Mail Artist Patricia Collins donated her extensive collection of correspondence to the University of Portsmouth’s Illustration Department. The gifted works total eight, twenty-six litre storage boxes, each housing diverse artworks.
The brief for this work was set by Oliver Tubb MRes. student at the University of Portsmouth. It was to create a unique piece of artwork inspired by Mail Art, whilst responding to the given theme of 'EXCHANGE'. Once complete, the works should be posted.
opportunity to question, reflect and analyse their own work and its commentary in the context of the work of other designers, filmmakers, painters, sculptors, writers etc. We provide an
educational experience allowing students to understand their role as a cultural producer in a
broad social, political and historical context.
The Illustration Course has a strong research identity and encourages students to develop
a breadth of knowledge and expertise in a variety of fields which include: illustration,
typography, photography, drawing, artist’s book, web design, animation, graphic design
and print. The emphasis on research supports the students in their choice of
media and specialisms. As part of the course the students also gain experience of: verbal
presentations; working to deadlines; working within groups; organizing exhibitions and
related publicity as well as developing their own independent learning programme.
Presentations by Maureen O'Neill
Project Reports by Maureen O'Neill
subsequent international visits to the USA and India, outcomes, project
extensions and a vision for the future through expansion.
Conference proceedings by Maureen O'Neill
Graphic design: Maria Portugal
Practice-based PhD by Maureen O'Neill
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound text with reference images which can be read by clicking on the thesis section where you can view all of the chapters, the appendices and references. The practical element is shown in the 13 projects section and includes artists' books, experiments, prints, multiples and a lecture. These projects investigate three main themes:
Map types: a series of visual investigations to plot map types.
Map construction processes: a series of artefact productions on investigative themes.
Map attributes: a series of artefact productions experimenting with map attributes.This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
blogs by Maureen O'Neill
potential and examine ways to collaborate with library groups covering a variety of backgrounds
and minority groups. The presentation will describe the establishment of The Visual Libraries Project
and its vision for the future through expansion. It will conclude with recommendations for other libraries
interested in collaboration. Sketchbooks offer potential as a medium of expression for all, by
means of drawing, note-taking, creative writing and collecting. Children do not question that they can
be creative, but as we grow older, our confidence in expressing ourselves through writing texts or
making objects and images recedes. This project promotes a creative way for individuals to express
ideas, communicate concepts, provide a space and opportunity to question, reflect and express their
individual voice. Historically, libraries have not been places where people were encouraged to write
or draw in books. Funding was provided to facilitate workshops and international links with Portsmouth
City Library, British Council Library in Chennai, India, Forsyth County Public Library and Wake
Forest University in Winston-Salem, North Carolina. Work created for the project is celebrated in a
range of ways, including lectures, exhibitions, online publishing and the creation of a documentary
film with the aid of a BBC cameraman. The project is building on the clearly successful initial stage
to demonstrate that it can work positively and creatively with a range of groups, including children,
young adults, people with physical and learning disabilities and the housebound From a library perspective,
an aspiration for the future is that the project promotes the use of libraries among individuals
who wouldn’t see themselves as traditional library users, and encourages users of libraries to be more
pro-active.
Keywords: Sketchbooks, Libraries, Communication, Collaboration
involved in various specialisms can promote their concepts by self-publishing. A systematic collection of artists' books
within the School of Art, Design and Media at the University of Portsmouth began 15 years ago. The books were not archived
and were difficult to access by students. It was my belief that the Internet could provide a platform to enable students to
retrieve textual and visual information about this collection, whilst ultimately inspiring them to contribute, thus potentially
diversifying and democratising the collection. With a growth in the field of artists’ books supported by calls for entry for
exhibition, book fairs and conferences internationally it seemed important for the students to have the potential to develop
appropriate methodologies to embrace and become involved in this re- emerging area with its potential as a medium of
expression that allows for multidisciplinary solutions. This paper will outline how Internet access to a visual database can
be utilised supporting face-to-face teaching to promote and encourage diversity and democracy in the production of artists’
books. It will describe the establishment of ‘The Ministry of Books’ website outlining the mechanics and use of the site.
How, currently ongoing, it is beginning to act as an aggregated archive and gallery space drawing together reflection and
review with, design and production, allowing creativity and knowledge acquisition to establish how we relate to the ‘book’
and the structures that underpin them. I will discuss my intentions to use it to promote and support the dissemination of
artists’ books to a wide and varied audience through production, curation and exhibition of works encouraging links and
collaboration with other institutions, galleries, bookshops, libraries, and museums who specialise in artists’ book collections.
Keywords: Artists’ Books, Self-Publishing, Visual Databases, Bookworks, Book Archives
Inspiration stemmed from the anti-establishment Fluxus and Dada movements, implying that Mail Art is motivated by non-conformity.
In the early 2000’s, noted British Mail Artist Patricia Collins donated her extensive collection of correspondence to the University of Portsmouth’s Illustration Department. The gifted works total eight, twenty-six litre storage boxes, each housing diverse artworks.
The brief for this work was set by Oliver Tubb MRes. student at the University of Portsmouth. It was to create a unique piece of artwork inspired by Mail Art, whilst responding to the given theme of 'EXCHANGE'. Once complete, the works should be posted.
opportunity to question, reflect and analyse their own work and its commentary in the context of the work of other designers, filmmakers, painters, sculptors, writers etc. We provide an
educational experience allowing students to understand their role as a cultural producer in a
broad social, political and historical context.
The Illustration Course has a strong research identity and encourages students to develop
a breadth of knowledge and expertise in a variety of fields which include: illustration,
typography, photography, drawing, artist’s book, web design, animation, graphic design
and print. The emphasis on research supports the students in their choice of
media and specialisms. As part of the course the students also gain experience of: verbal
presentations; working to deadlines; working within groups; organizing exhibitions and
related publicity as well as developing their own independent learning programme.
subsequent international visits to the USA and India, outcomes, project
extensions and a vision for the future through expansion.
Graphic design: Maria Portugal
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
• Map types: a series of visual investigations to plot map types.
• Map construction processes: a series of artefact productions on investigative themes.
• Map attributes: a series of artefact productions experimenting with map attributes.
This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.
This Practice-Based Ph.D. thesis is in two sections, the written element presented as a bound text with reference images which can be read by clicking on the thesis section where you can view all of the chapters, the appendices and references. The practical element is shown in the 13 projects section and includes artists' books, experiments, prints, multiples and a lecture. These projects investigate three main themes:
Map types: a series of visual investigations to plot map types.
Map construction processes: a series of artefact productions on investigative themes.
Map attributes: a series of artefact productions experimenting with map attributes.This thesis explores how our notion of mapness is related to our knowledge, reading and understanding of the complex visual language of the map, through an investigation of how we relate to the way maps look and the structures that underpin them. The processes of creating map-like artefacts through the author's own practice are reported upon and inform a drawing forth of historical, theoretical and practical perspectives that act in conjunction to influence the artistic and design expression to communicate mapness.
At the outset a survey of how strong is our capacity to project and seek mapness in our daily experience gives rise to the question - when does mapness breakdown? An attempt is made to answer this through a review of theoretical texts, they provide a framework, but no definition fully addresses the void between mind and map. The decision is taken to construct an initial taxonomy of map structural elements (attributes and conventions) and then explore the boundaries and validity of this taxonomy by analysing how far a map can be distorted, abstracted and minimised through project and experiment.
A reflection-in-action and reflection-on-action based methodology informs the body of practice produced which is evidenced in a sequence of three categories. These being, (a) map types - a series of visual investigations to plot map types, (b) map construction processes - series of artefact productions on investigative themes and (c) map attributes - a series of artefact productions experimenting with map attributes. Two key projects from this series are reported in detail. The Map of Repetition which demonstrates how utilising mapness properties allows the creation of a navigable landscape for a thesaurus. The other an experiment - Mapping a Journey - evidences what repository of acquired characteristics for visual conveyance of illustration of a journey, design aware individuals call upon. Both these projects advance the taxonomy of mapness which captures in summary the knowledge gained from the body of practice.
The thesis concludes with a four stage taxonomy anchored to the questions - what? (the kind of things we map and are maps): why? (the motivation, purpose, the function of the map artefact): how? (the physical attributes, relationships, the structure - the physiology of the map artefact): who? (the audience of the completed map artefact).The 'how' section is developed in particular with the realisation that a visually based interactive website can best serve accessibility and understanding of mapness (http://www.mappassion.com) and that mapness has its own language. Indeed the nature of the void between mind and map is resolved as a dialogue that enables an understanding of this language of mapness - the structures used in construction, orchestration and rationalisation of the individual components, visual verbs and nouns, used to create a persuasive argument, the single map artefact.