Protocol for the organisation

and visualisation of georeferenced data about

artworks

and media content

in water justice conflicts

Beatriz Rodríguez Labajos

April 2019

1. Introduction

2. Design of the information system

3. Workflow

4. Graphic outcome

5. Elements for discussion

Contents

Worldwide raw material extraction, transport and waste

disposal trigger socio-environmental

conflicts linked to unequal ecological

distribution (Martínez-Alier and O’Connor, 1999)

Issues of race and ethnic identities are linked to distributive

injustices (Martínez-Alier and O’Connor, 1999)

Claims for EJ usually denounce water depletion or

degradation, waterscape alteration, and ensuing

exposure to risks(Zwarteveen and Boelens, 2014)

Mural en El Hatillo – Fundación Chaquis

Attempts to theorise mediatised (environmental) conflict or critical examinations of popular culture have not reached the EJ literature

(Hutchins and Lester, 2015) (Cultural Politics, 2019)

Lack of systematic analysis of creations of artistic activism

cognitive processes, value and behavioural

change

Ubiquitous use of artworks in the

conflicts

social cohesion, awareness, education, remembrance, healing or social innovation ...

MSCA-GF-797444CLAMOR

‘How do artistic and multimedia creations in water-related EJ conflicts represent and support transformative or restorative initiatives?

Methods for spatial data collection, organising and visualisation

OBJECTIVE OF THIS DISSERTATIONTo produce and test a protocol for the collection, organisation and visualisation of georeferenced information about artworks and media content in water-related conflicts in which transformations

operate under violent conditions

Practical application of the GIS as a tool to advance knowledge on

the issue at hand

Conceptual elaboration on the spatialization of artistic creation in

the context of social transformation

EXPECTED CONTRIBUTIONS

El país más feliz del mundo –The world’s happiest country - Julián Santana y Katherine León

Challenging spatial representation

• the spatial categories of conflicts

• culturally and socially-produced territories

• the meanings that are attributed to specific components or conditions in the conflicts

El Carbón de Colombia ¿Quién Gana y Quién Pierde? – Colombia’s coal. Who is winning and who is losing? – Tierra Digna

Design of the information system

Data sources

Database schema

Primary sources

InterviewsDigital media outlets

Repositories / MuseumsCollaborators

Secondary sources

Scientific papersConflict databases

(e.g. Ejatlas)Other secondary sources

(e.g. reports)

Spatial reference

Purpose

Knowledge base Visualisation

CASE STUDY

(features with different geometries)

Focus on the artworks, cultural expressions and

social media outlets used in concrete cases

COUNTRY / GLOBAL

(point objects)

Focus on the conflicts, classified according to the way how artworks, cultural

expressions and social media are used

Coder (name, email)

Conflict (name, description

commodity chain, date)

Location

Artwork(title, type, reference)

Conflict stage

Nature(elements feature, water cycle)

Representation(distribution, recognition,

participation, gender, community participation)

Violence

User

Purpose

Artworks, cultural expressions and social media outlets used in environmental justice conflicts

Contributor(name, email)

Conflict-hub (id, serial, date, source,

coder)

Country(id, name,

ISO2, ISO3)

Nature(elements feature, water cycle)

Representation(distribution, recognition,

participation, gender, community participation)

Violence

PurposeUse-hub

(Id arwork-hub, id users, id purpose, id target, id conflict stage)

Reference(Interview, picture,

link, paper, …)

CreatorProduct

(id, name, code, category)

Region(id, country_id,

name, type)

Artwork-Conflict-link

(Id Conflict, Id Artwork,)

Commodity chain(id, product_id, entitlement,

extraction, transport, processing, waste, all, other)

Coord (pol)

Coord (arc)

Coord (point)

Target

User

Conflict Stage(id, name, level)

Artwork-hub(all id)

Gender

Artwork(title, type, year created, link)Conflict

(id, name, description , date, lat, long, locality, id_stage)

Artwork-use-link

(Id Artwork, Id Use)

Coal comm. Chain

(id_conflict_hub, stages as Yes/No, other)

Water comm. Chain

(id_conflict_hub, stages as Yes/No, other)

artType(title, type)

Database design

Field name Field descriptionData type Access[Field length]

Data type PosgreSQL

type_id A unique identifier of each entry in the table Autonumber serial

artHub_idA 10-character unique identifier of each piece. Is is based on the conflict_id (table conflict), adding a four-digit serial number (e.g. ES00010001)

Text [10] char(10)

CENT Cultural centre, museum, collection Yes/No booleanCOLL Art collectives Yes/No booleanEVEN Organisation of artistic or cultural events (e.g, festivals) Yes/No booleanNOVE Novel Yes/No booleanPOET Poetry Yes/No booleanESSA Essay Yes/No booleanTHEA Theatre play Yes/No booleanDANC Dance Yes/No booleanSTPE Street performance Yes/No booleanCOPE Collective performance (e.g., happening, flashmob) Yes/No booleanSTUN Stunt Yes/No booleanSTOR Storytelling Yes/No booleanPAIN Painting Yes/No booleanGRAF Graffiti Yes/No booleanMURA Mural Yes/No booleanCART Cartoon Yes/No booleanPHOT Photography Yes/No booleanPOST Poster Yes/No booleanBANN Banner Yes/No booleanSCUL Sculpture Yes/No booleanMONU Monument Yes/No booleanINST Installation (permanent or ephemeral) Yes/No booleanCLOT Clothing or fashion items Yes/No booleanUDES Urban design Yes/No booleanLDES Landscape design Yes/No booleanARCH Architecture Yes/No booleanECOD Ecodesign Yes/No booleanMUSI Music, song Yes/No booleanPHVO Photovoice Yes/No boolean

Spatial reference

Layer Description CreditsGLOBALTopographic Topographic base map ArcGIS Server Manager

Countries 247 countries worldwide, Kelso, N.V. and Patterson, T. (2012a). Regions First-order administrative boundaries Kelso, N.V. and Patterson, T. (2012b)

REGIONALUSA_water_lines, USA_water_areas Country level data for inland waters http://diva-gis.org/gdataUSA_roads Country level data for roads http://diva-gis.org/gdataUSA_railroads Country level data for railroads http://diva-gis.org/gdataCOLOMBIACOL_water_lines, COL_water_areas Country level data for inland waters http://diva-gis.org/gdataCOL_roads Country level data for roads http://diva-gis.org/gdataCOL_railroads Country level data for railroads http://diva-gis.org/gdata

Construction of the GIS

Reference layers

Conflicts layers

Add data about use

Add data about artwork

Add data about conflict

1commodityChainWater

2violence

3a_useHub

Check: 3user,

3purpose, 3target

Add link data

4a_Link conflict artwork

4b_Link artwork

use

Update query in the database

Export query to previous version of access / excel

Add graphic data

Add feature to the corresponding shape

Add code in table of atributes

Update relate

The protocol’s work flow

Graphic outcome

GLOBAL LEVEL

Fig. 42. CO00010009 Frame of the documentary ‘El carbon de Colombia, quién gana y quién pierde’(Tierra Digna) (modified for personal data protection)

REGIONAL LEVEL

Graphic outcome

Elements for discussion

CONF

LICT

S

Global

Regional (administrative

limit)

ARTW

ORK

S

Specific location Segment Area

Multiple places in the same artwork, even from another region

a. Analytical relevance of this protocol

Understanding of socioenvironmental conflicts as processes that can be analysed in a multi-scalar way

Spatialisation of a phenomenon that is not typically represented in the space.

the database normalization process has entailed a systematic examination of each one of the items represented in the tables

counting on a working structure for the storage of field data will promote a more efficient use of research resources

b. Limitations

c. Next steps

Thank you!

For questions please contact

through skype

bea_labajos

beatriz.rodriguez@uab.cat

Protocol for the organisation and visualisation �of georeferenced data about artworks �and media content �in water justice conflictsNúmero de diapositiva 2Número de diapositiva 3Número de diapositiva 4Número de diapositiva 5Número de diapositiva 6Número de diapositiva 7Número de diapositiva 8Número de diapositiva 9Número de diapositiva 10Número de diapositiva 11Número de diapositiva 12Número de diapositiva 13Número de diapositiva 14Número de diapositiva 15Número de diapositiva 16Thank you!