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Cornor has no difficulty locating his ideas in the tradition, work and critical discourse of artists, activists and geographers. The language he uses to describe and compare the creative process of mapping is both drawn from these disciplines; fields, extracts, plottings and his own categorizations and themes such as drifts, layering, game board and rhizome. Cornor summons Jose Luis Borges image of the beautiful yet abandoned full scape map to suggest the limitations and consequent redundancy of mapping as purely representational and argues instead for the potential inherent in the process to give form to new possibilities in the complexity and contradiction of what already exists. Indeed Cornor refers to the “inertia and leveling of possibilities” even political impossibility, designers face in trying to realize projects out of the ordinary in a mass democracy. Because of the duality of a map and that is both analogous to reality yet abstracted from it and hence its association with ...

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