RESTLESS GEOGRAPHIES Louella Exton

Expansion through ‘Fallout’

An exploration of the relationship between Australia and ideas of the ‘Remote’

Seminar 01: Restless Geographies Semester 01 / 2021 Louella Exton / s3540228

01. Introduction Australia as ‘remote’?

Collective Expansion Part 01

02. XL

‘Remote’ Australia?

Individual Zooming - Part 01

03. XL+ Australia as Resource?

Collective Expansion Part 02

04. L

‘Remote’ South Australia?

Individual Zooming - Part 02

05. L+ Australia as Controlled Space?

Collective Expansion Part 03

06. M

‘Remote’ N.E. South Australia?

Individual Zooming - Part 03

07. M+ Australia as Antartica?

Collective Expansion Part 04

08. S

‘Remote’ 27°56’17.2”S 129°49’32.6”E? Individual Zooming - Part 04

09. S+ 10. Conclusion 11. Appendix 12. Biblyography

Introduction Expansion though fallout is a project that aims to explore the relationship between ‘Australia’ and ideas of ‘Remoteness’ through a the event of British Nuclear Testing [1955-1963] as a form of territorial expansion. It does so through both an unpacking of collective activity, and an unfolding of an individual journey. Both explorations simultaneously grapple with traditional ideas of ‘remoteness’ but also encounter contradictions to this idea, or, work to ‘debunk’ this traditional understanding.

Together, these two explorations also explore the idea of ‘fallout’. Zooming in, the literal ‘fallout’ of nine different nuclear bomb tests across three different sites within Australia can be seen to cover almost the entirety of Australia. Zooming out, the idea of ‘fallout’ the British nuclear testing as an event is used as an example of colonisation, and furthermore, a frame for other other events that have or may take place in the expansion of territory.

01

02

With ‘Australia as Remote’ the starting point, how has the collective’s territory expanded by perceptions of ‘remoteness’, and how does resulting activity contribute to a collective understanding of the ‘remote’, both in the past and currently.

‘Collective activity’ begins with an exploration into how Australia was and is potentially perceived as ‘remote’ and how this has foreshadowed (and potentially led to) ‘Fallout’. It then explores how a collective perception of remote has perhaps prompted a continued expansion of territory, foreshadowing potential future ‘fallouts’.

With ‘Remote Australia’ the starting point, how far can I zoom in and navigate the ‘remote’, both literally (virtually) and figuratively (conceptually), and how does this zooming in process begin to reveal new understandings of ‘remoteness’?

My ‘Individual Journey’ begins with an attempt to understand my idea of a more common understanding of ‘remoteness’ and translates this into a spatial starting point for a virtual exploration of Maralinga and beyond. Through the sequence of maps, both the relevance and the focus on this ‘remote’ area weakens.

For this map series, the initial interest lay in the extent of the Australian EEZ boundary and it’s inclusion of Antarctic territory. Moving through the scales, this image is unpacked. Beginning at a global scale, a narrative unfolds, speculating on how this image came to be.

For this map series, the initial interest began with the ‘blank’ space left between roads in a typical google maps image. Moving through the scales, this image is unpacked. Beginning at the scale of Australia, a zooming process unfolds, speculating on the true ‘blankness’ of this image.

While these two simultaneous explorations may at first seem as ‘seperate’, their interconnectedness is revealed through the drawing set. The exploration begins to suggest similarities between my own process of exploration and that of the collective, while posing interesting questions for the discipline of landscape architecture.

‘Collective’ as

‘Individual’ as

‘Remoteness’ as

‘Territory’ as

‘Australia EEZ’ as

‘Fallout’ as

Document as

Myself as the Map Maker

The ‘collective’ may be understood as more than one, a governing body, a collective of individuals.

Within this project, the collective mostly refers to the crown (or British empire), and the Australian government. It does however also extend to groups such as mining companies, traditional owner groups, or for example those who own the satellites such as google. The idea of the collective may also, and perhaps most importantly, begin to refer to Landscape Architecture as a discipline.

The ‘individual’ may be understood as the singular, a single person or perspective, you, me, I, they, them etc. In the case of this project the singular largely refers to myself as the map maker. More indirectly, the idea of the ‘individual’ extends to including things such as the singular event or moment, a place where solitude may be experienced, or personal associations, thoughts, or experiences.

The idea of the individual may also, and perhaps most importantly, begin to reflect to the reader/s of this document as an individual.

A ‘traditional’ or ‘Common’ understanding: that which lies ‘out there’, ‘in the middle of no where’. A place distanced and / or isolated from the personal point of origin. An area of ‘nothing-ness’, or ideas ‘terra-nullius’, ideas emptiness. The unknown or the uncontrollable. In the case of Australia, ideas of remoteness are often associated with images of the hot, the dry and the dusty, the ‘red dirt’, isolated places in ‘the middle of nowhere’, flatness and never ending expanse.

A personal understanding: a feeling of unfamiliarity, either with ones self or with ones surrounds, regardless of ones physical distance from one’s personal point of origin.

[03/21]

A term which describes the articulation or translation of one’s comprehension of space onto or into a medium which is then used to understand one’s surround or the world around them (eg. A map). The product or result of a need for control, understanding or definition. The result or product of ideas of ownership, authority or control.

[03/21]

An Economic Exclusion Zone. An area of Australian control. An arbitrary boundary, a 200 nautical mile projection from a deemed ‘base line’ on the coast of Australia. A framework I had never heard of before…

radioactive particles that are carried into the atmosphere after a nuclear explosion and gradually fall back as dust or in precipitation, or, the adverse results of a situation or action [oxford dictionary] In the case of the project, ‘Fallout’ is understood both in terms of its’ nuclear testing reference, but also as a frame through to which to understand an event. Various events may be considered themselves a ‘fallout’, but may also leave their own version of ‘fallout’ within the world around them, or within the area in which they took place.

Document as a catalogue Document as a diary Document as ‘work in progress’ Document as an ongoing exploration Document as an unfinished search Document as more questions than answers Document as a collection Document as a body of interconnected things Document as a series of lists

My name is Louella Exton, I am Dutch / Australian.

I was born, and now live, work and create on the stolen lands of the Wurundjeri. I am half Australian and half Dutch and have lived in both Australia and the Netherlands. As a dual citizen, I acknowledge the privilege of holding citizen rights to more than one nation state. I have studied both Landscape Architecture (and am currently completing a Masters in Landscape Architecture) and I have studied Design. My interests lie in how we can combine the two.

Australia as ‘remote’ Collective Expansion Part 01

‘Fallout’ 03: Colonization of ‘Australia’ by the British Empire

Australia has, and may be understood as ‘remote’, ‘out there’, or ‘down there’. Our ‘island’ status embodies ideas of distance and isolation. It take’s a journey to get to us, whether the journey of the First Fleet, or the usual two plane ride’s from the northern hemisphere. we are arguably perceived as ‘far away’ or ‘in the middle of no where’.

From ‘point zero’ or the ‘prime’, we were a place to be conquered, a place to which to expand one’s territory.

This vertical line, that which defined ‘east’ from ‘west’, A line who’s presence more than 70% of the worlds commerce relied on by the end of the 19th century, projected from the grounds of our ‘colonial motherland’. We were perceived as ‘Terra Nullius’, a place to take over, a place with on which to test. Today, as we sit seperate from our ‘global north’ partners, to the rest of the world we are the country that houses the worlds most isolated city (Perth), the country who hosts the longest single plain rider (14 hours from Perth to London direct), a country seems to always be a ‘step behind’. But while we may lie out of the periphery from the ‘centre’ of the world, Australia was and in many ways still is ‘undiscovered’ to the European eye.

Approx area of next zoom

End of the Google Streetview Coverage

Point of Interest

Floating ‘Waypoint’

‘End of the Road?’

‘Path of personal Interest’

‘Plot of Personal Interest’

Smallest amount of Accumulated Fallout

Largest amount of Accumulated Fallout

‘Remote’ - ‘Very Remote’

‘Remote’ - ‘Hot Desert’

‘Remote’ - 0-600m elevation

‘Remote’ - ‘Red Dirt’

Roads: Major

‘Flight Path’ - Aviation Nautical Chart

‘Way point’ - Aviation Nautical Chart

Google Earth ‘Photo Sphere’

British nuclear Test Site

Personal Point of interest

Perceived ‘remoteness’

100km

1 : 6,600,000

1 ‘Screenshot’

Key

XL

Key

Place included in British Empire

‘Prime Meridian’

Path of the ‘First Fleet’

Aproximate Area deamed the ‘Global North’

Great Britiain

Perceived ‘Remote’

1 : 80,000,000

1600km Offerings to ideas of ‘remote’: In it’s traditional sense, I have found the ‘remote’, in fact it prompted the exploration. I have also found the information that suggests it is ‘anything but empty’ [young, 2010]. But in terms of my own feeling of ‘remoteness’ (the distance from one’s self), my points of interest lie far from my point of origin - yet I still feel within the realms of the ‘familiar’ - the ‘recognisable’ feels within reach.

From the Stuart Hwy (01) the first point of interest, ‘empty’ spaces are searched for. Places that one must leave the road to access. ‘Plot One’ (02) sits near by. One of the larger ‘empty’ plots, it encompasses activity but tracts outwards to the ‘nothingness’. In between the two (01 and 02) lies appears to be the intersection of ‘everything’ and ‘nothingness’; with the highest areas of fallout and the major roads to the right, and with the least amount of fallout and largest ‘empty’ plots to the left, the two biggest nuclear test sites lie silently (invisible to eye at this scale) in the middle. They two are a representation of simultaneous ‘nothingness’ and ‘everything’; their visual presence muted (both visually to the eye and figuratively within the collective knowledge) and their invisible fallout prominent.

The screen is set, in one screen shot ‘Australia’, as a whole, is centred. Only ‘major’ roads are visible at this scale. Yet and an entire network of flight paths that connects us to the ‘globe’ is present. Together they ‘crisscross’ the field, dividing up space. Roads that cross this remote expanse and the ‘negative’ space left in-between flight paths become of interest.

Nuclear fall out covers the country, except for the bottom left corner. Areas of the highest fall out are drawn out in comparison to that of ‘no fallout’.

Entering in and out of ‘Street view’, prompted by the ‘alien scape’ aesthetics of the aerial image, road side locations are are scouted for their unfamiliarity - random points on the Eyre or Stuart Hwy or the end of the google street view access on the Outback Hwy for example. Screenshots are ‘grabbed’ and their horizon lines extracted. Details such as ‘the end of the road?’ Or the ‘end of street view’ are picked up.

Beginning at point 00, my personal point of origin. The ‘remote’ is defined, a boundary made up of the intersection of other boundaries: the ‘Hot Desert’, the ‘Very Remote’, the ‘Red Dirt’ and ‘flatness’ - the same information that paint a picture of the ‘classic’ remote. This ‘remote’ may be understood as ‘nothing-ness’. This guides the initial trajectory of exploration.

Areas of Interest: 01 - ‘Path’: Stuart Hwy 02 - ‘Plot’: The Leaning Plot

‘Fallout’: 9 tests worth of data, visualised as one single layer of accumulated fall out

‘Remote’ Australia?

Individual Zooming - Part 01

XL

XL+

Collect Collate

Google Maps Base + Google Maps Road Data

Google Maps Street View

Extract EEZ Outline

Combining ‘Remote’ Boundaries - Iteration 01: ‘Very Remote’ + ‘Hot Desert’

Combining ‘Remote’ Boundaries - Iteration 02: ‘Very Remote’ + ‘Hot Desert’ + ‘Red Dirt’

Flight Paths

Visible Roads

Combining ‘Remote’ Boundaries - Iteration 03: ‘Very Remote’ + ‘Hot Desert’ + ‘Red Dirt’ + ‘0-600m’

Combining ‘Remote’ Boundaries - Final Iteration

‘Very Remote’ [AIRA Rating]

‘Red Dirt’

‘Paths’ Cropped to the new ‘Remote’ Boundary

‘Hot Desert’ [Koppen Climate Type]

0-600m above see level [elevation]

Key ‘Paths’ and ‘Plots’ of interest

Annotation of Key areas of interest selection

Collating Fallout Data - Grasshopper Script 01: Translating 4 colours into 4 circle sizes

Collating Fallout Data - Grasshopper Script 01: Translating 9 layers of circles into 1 accumulative data set

Data set: Accumulated fallout from 9 tests

Highest and lowest areas of fallout

Base Coastline

Aeronautical Charts - Flight Paths

Translate

Access

AIRA Remoteness Study 2006

Koppen Climate Type Study Australia

Austrlian Elevations - Geoscience Australia

[Bib ref. Image 01]

Google Earth Satelite Imagery: Australia

Google Earth Satelite Imagery: ‘Globe’

World Map + Prime Meridian and Equator Linework

British Nuclear Test: Buffalo 01 - Fallout Recording

British Nuclear Test: Buffalo 02 - Fallout Recording

British Nuclear Test: Buffalo 3 - Fallout Recording

‘Remote’ [in the traditional Sense]

Activity British Nuclear Test: Buffalo 04 - Fallout Recording

British Nuclear Test: Antler 03 - Fallout Recording

British Nuclear Test: Antler 01 - Fallout Recording

British Nuclear Test: Mosaic 01 - Fallout Recording

British Nuclear Test: Antler 02 - Fallout Recording

9 X Colour extraction of 4 ranges of fallout measurement + The 1x1cm Grid

British Nuclear Test: Mosaic 02 - Fallout Recording

Global perspective of Australia as ‘Remote’

World Map depicting the British Empire

[Bib ref. Image 02]

[Bib ref. Image 03]

World Map depicting the path of the First Fleet

[Bib ref. Image 04]

World Map Depicting the ‘Global North and South’

Globe and World Projections

Nation Territories

100km 1 : 6,600,000 Key

Zones of uranium deposits ranging from: 1. Geological regions with >1,000,000 tonnes of Uranium 2. Geological regions with 100,00 to 1,000,000 tonnes of Uranium 3. Geological regions with 10,00 to 100,000 tonnes of Uranium Australian Uranium Mine Port / Point of Australian Uranium Export Mining Location Airfield / Tarmac Runways

A land now colonised becomes a place with on which to explore, extract a test. From an ‘empty canvas’ to a marked up ground. This is place is no longer ‘nothing ness’.

With an abundance of resource lying below our crust, the ground becomes scattered with mining sites. Our addiction to digging, and the development of such extraction sites, requires a connected nation, hundred of airfields lie marked in the ground.

But what lies as quietly as the uranium submerged within the ground, is the collective activity of this materials use.

No longer needed for our dirty testing, the activity that was conveniently tucked away in our ‘remoteness’, ‘out of sight, out of mind’ to our European controllers, this resource still has demand. One of the largest exporters, territory is further expanded through offshore fall outs.

After all, Australian uranium played it’s part in one of the worlds worst recent nuclear testing disasters, Fukashima.

‘Fallout’ 02: Discovery and Extraction of rare earth mineral Uranium

Australia as Resource Collective Expansion Part 02 Perceived ‘remoteness’ Personal Point of interest British nuclear Test Site Google Earth ‘Photo Sphere’ ‘Way point’ - Aviation Nautical Chart ‘Flight Path’ - Aviation Nautical Chart Roads: Major, Secondary

‘Remote’ - ‘Red Dirt’ ‘Remote’ - 0-600m elevation ‘Remote’ - ‘Hot Desert’ ‘Remote’ - ‘Very Remote’

Largest amount of Accumulated Fallout Smallest amount of Accumulated Fallout ‘Plot of Personal Interest’ ‘Path of personal Interest’

‘End of the Road?’

Floating ‘Waypoint’ Point of Interest End of the Google Streetview Coverage

Approx area of next zoom

Offerings to ideas of ‘remote’: In its traditional sense, I have once again found the ‘remote’, however it feels refined for refined’s sake. The information that suggests it is ‘anything but empty’ [young, 2010] is still present. But in terms of my own feeling of ‘remoteness’ (the distance from one’s self), my points of interest still lie far from my point of origin - and for the most part I still feel within the realms of the ‘familiar’ - this new northern path however feels less recognisable, a path that I can’t place in memories or associations.

The screen is set, in seven screen shots South Australia is centred. More detail becomes available, the next level of visible roads appear. Flight paths are no longer just lines, but lines connected by a series of points, ‘way points’ - a hidden geography of the sky. Again, the carving up of the field by the criss-crossing paths reveals areas of interest.

Nuclear fall out continues to cover the field, however we no longer see the area with no fallout, instead the entirety of the ground is covered. Again the areas with the greatest amount of fallout are picked up.

Entering in and out of ‘Street view’, prompted by a new range of access, locations such as the hwy into the Olympic Dam or the end of the google street view access of the Lasseter Hwy are explored. Details such as floating waypoints (those who don’t lie on a flight path) are picked up.

From the first plot of interest, ‘Plot 01’ (02) the first point of interest, new secondary roads that lie within visual reach become of interest. A new point of interest, ‘Path: Lasseter Hwy’ emerges. With now three points of interest, an area becomes triangulated.

Within this area lies the ‘remote’, higher fallout recordings to the right and lower to the left, as well as, similar to the previous map, more road access on the right, and bigger ‘empty’ plots to the left. The two major test sites, and a ‘floating waypoint’ become details that lie centred in this area of interest.

Zooming in, Positioning myself within the previous areas of interest. The ‘remote’ is redefined, once again a boundary made up of the intersection of other boundaries: the ‘Hot Desert’, the ‘Very Remote’, the ‘Red Dirt’ and ‘flatness’ - however now, the ‘remote’ area is now less defined by ‘objective’ measures such as ‘distance from services’ (classified as very remote) and more by climatic, topographic and visual factors. The latter, ‘the red dirt’ has quickly taken over however, with the most consistently red body of dirt extracted from the satellite imagery.

Areas of Interest: 01 - ‘Path’: Stuart Hwy 02 - ‘Plot’: The Leaning Plot 03 - ‘Path’: 4 Lassester Hwy

Fallout: 9 tests worth of data, visualised as one single layer of accumulated fall out

‘Remote’ South Australia?

Individual Zooming - Part 02

L

50km

1 : 2,500,000

7 ‘Screenshot’

Key

L

L+ Google Maps Base + Google Maps Road Data

Collect Collate Google Maps Street View

Aeronautical Charts - Flight Paths

Extract

Translate

Uranium Deposits

Combining ‘Remote’ Boundaries - Iteration 01: ‘Very Remote’ + ‘Hot Desert’

Combining ‘Remote’ Boundaries - Iteration 02: ‘Very Remote’ + ‘Hot Desert’ + ‘Red Dirt’

Flight Paths

Visible Roads

Combining ‘Remote’ Boundaries - Iteration 03: ‘Very Remote’ + ‘Hot Desert’ + ‘Red Dirt’ + ‘0-600m’

Combining ‘Remote’ Boundaries - Final Iteration

‘Very Remote’ [AIRA Rating]

‘Red Dirt’

‘Paths’ Cropped to the new ‘Remote’ Boundary

‘Hot Desert’ [Koppen Climate Type]

500m Contour Line

Key ‘Paths’ and ‘plots’ of interest

Annotation of key paths and plots of interest selection

Collating Fallout Data - Grasshopper Script 01: Translating 4 colours into 4 circle sizes

Collating Fallout Data - Grasshopper Script 01: Translating 9 layers of circles into 1 accumulative data set

Data set: Accumulated fallout from 9 tests

Highest and lowest areas of fallout

Base Coastline

Access

AIRA Remoteness Study 2006

Koppen Climate Type Study Australia

Austrlian Elevations - Geoscience Australia

Google Earth Satelite Imagery

Australian mines 2019

Google Maps Base + Google Maps Road Data

British Nuclear Test: Buffalo 01 - Fallout Recording

British Nuclear Test: Buffalo 02 - Fallout Recording

British Nuclear Test: Buffalo 3 - Fallout Recording

‘Remote’ [in the traditional Sense]

Activity British Nuclear Test: Buffalo 04 - Fallout Recording

British Nuclear Test: Antler 03 - Fallout Recording

British Nuclear Test: Antler 01 - Fallout Recording

British Nuclear Test: Mosaic 01 - Fallout Recording

British Nuclear Test: Antler 02 - Fallout Recording

9 X Colour extraction of 4 ranges of fallout measurement + The 1x1cm Grid

British Nuclear Test: Mosaic 02 - Fallout Recording

Resource / Extraction / connectivity / Uranium and nuclear activity

Australian Nuclear Activity

Australian Runways and Airfields

Australian Uranium Deposits

Airfields / Runways as points

Mine Sites as points

Australia as Controlled Space Collective Expansion Part 03

‘Fallout’ 03: Establishment of the Australian EEZ Boundary

With a land now valued for it’s rare commodities, and now more connected than once thought (both with itself and with the rest of the world), in the eyes of the collective there calls a need for protection and control, particularly that of economic activity; the establishment of the australian EEZ boundary.

We hold our most valuable close, as the ‘protected resource management’ classified land lies at our centre.

From this centre radiates out hidden sets of spatial control. These layers extend across land, sea and the air.

While the class a, b, c, and d airspace is arguably needed to regulate the safe distance between aircraft, and while the woomera prohibited area, a product of our dirty testing past, ensures human engagement with defence testing (more dirty testing) is kept to a minimum, the Australian EEZ perhaps sits more confusingly. Its purpose in question, an effort of conservation, or is it simply a ‘land grab’.

Either way it is an extension of Australia, an expansion of territory.

Approx area of next zoom

End of the Google Streetview Coverage

Point of Interest

Floating ‘Waypoint’

‘End of the Road?’

‘Path of personal Interest’

‘Plot of Personal Interest’

Smallest amount of Accumulated Fallout

Largest amount of Accumulated Fallout

‘Remote’ - ‘Very Remote’

‘Remote’ - ‘Hot Desert’

‘Remote’ - 0-600m elevation

‘Remote’ - ‘Red Dirt’

Roads: Major, Seconday, Vehicle tracks

‘Flight Path’ - Aviation Nautical Chart

‘Way point’ + Individual 5 LetterIdentifying code

‘Way point’ - Aviation Nautical Chart

Google Earth ‘Photo Sphere’

British nuclear Test Site

Personal Point of interest

Perceived ‘remoteness’

25km

1 : 1,250,000

127 ‘Screenshot’

Key

M

Key

Australian ‘Prohibited Areas’

National Airspace Control Boundaries

Controlled Airspace including Class A, B, C, D

Australian EEZ Boundary

Contiguous Zone and Territorial Sea Limit

EEZ Cost Baseline

1 : 10,000,000

200km Zooming in, Positioning myself within the previous areas of interest. The ‘remote’ is once again redefined, a boundary made up of the intersection of other boundaries: the ‘Hot Desert’, the ‘Very Remote’, the ‘Red Dirt’ and ‘flatness’ - however now, the ‘remote’ area is now less defined by the more subjective areas of red dirt and more by the new topographic detail.

The screen is set, the north west of South Australia is centred. With now 127 screen shots need to achieve a new level of road data, an overwhelming amount of new detail becomes available. Roads go beyond just including ‘primary’ and ‘secondary’ or those which have been deemed notable for digitally directed travel, ‘vehicle tracks’ are now present, those that can only be picked up and defined by satellite imagery. Waypoints no longer anonymous, they have names, a way to recognise and familiarise one’s self with the paths in the sky.

Again, the carving up of the field by the criss-crossing paths reveals a lot more detailed areas of interest. The layer of Fallout that covers the field has thickened. The product of now separating the three sets of tests worth of data. The highest and lowest areas are all relative, we now see the highest and lowest of the overall ‘highest’ within the country. We site now, in the ‘thick of it’…

Still entering in and out of ‘Street view’, with now ‘photo spheres’ providing just as much access as the few stretches of ‘street view’ left, locations such as the eastern Simpson desert, and a random dirt road are picked up on.

Meanwhile, a ‘virtual road trip’ of the Stuart Hwy is continued. Details such as ‘the end of the road’ have appeared, and haven been noted in abundance.

From latest point of interest, a new point is added (04), Plot 02 has emerged, this time a plot defined by roads instead of flight paths. It lies in-between the three previous roads and plots of interest, and lies intersects the first plot of interest (02). Because of the sheer size of the ‘empty’ space it encompasses, it feels perhaps a ‘more extreme’ plot to pursue compared to its’ smaller neighbours.

Within these now four points/areas of interest, a combination of paths and plots, a whole new world has emerged in the field. Again the higher ‘activity’ lies to the right in the form of intricate informal paths, with an absence of such detail contrasting to the left. While the fall out technically still sits higher to the right, the gradient from left to right is now far more gradual and subtle. What lies in the middle now, seems to be a mix of the two. A series of the larger empty plots, with tiny ‘end of the road’ details that face outwards to what appears as an open expanse. Is this the remote?

Offerings to ideas of ‘remote’: With the boundary of ‘remote’, that which reflects ‘remote’ in the traditional sense, now feeling more irrelevant (due to distance between roads remaining consistent beyond this boundary) and the presence of ‘hidden’ fall out still ‘debunking’ the ‘emptiness’ of the field, perhaps my alternative idea of remoteness becomes more relevant. Compared to the previous two maps, my level of recognition and association with the places I am virtually inhabiting within the field has lessened. These ‘end of the road’ details provoke sensations of perceived isolation and begin to suggest ideas of the ‘sublime’ as they look out towards the visual endless expanse. But does the fact that these areas spark such imaginative thoughts within the mind of the map maker suggest I feel far from ‘distanced’ from myself?

Areas of Interest: 01 - ‘Path’: Stuart Hwy 02 - ‘Plot’: The Leaning Plot 03 - ‘Path’: 4 Lassester Hwy 04 - ‘Plot’: The Triangular Plot

Fallout: 9 tests worth of data accumulated into 3 layers: (Operation Buffalo - 4 tests / Operation Antler - 3 tests / Operation Mosaic - 2 tests)

‘Remote’ N.E. South Australia?

Individual Zooming - Part 03

M

M+ Google Maps Base

Collect Collate Google Maps Street View [10 Screenshots]

Extract Australian Prohibited Areas

Combining ‘Remote’ Boundaries - Iteration 01: ‘Very Remote’ + ‘Hot Desert’

Combining ‘Remote’ Boundaries - Iteration 02: ‘Very Remote’ + ‘Hot Desert’ + ‘Red Dirt’

Flight Paths

Visible Roads

Combining ‘Remote’ Boundaries - Iteration 03: ‘Very Remote’ + ‘Hot Desert’ + ‘Red Dirt’ + ‘0-600m’

Combining ‘Remote’ Boundaries - Final Iteration

‘Very Remote’ [AIRA Rating]

‘Red Dirt’

‘Paths’ Cropped to the new ‘Remote’ Boundary

‘Hot Desert’ [Koppen Climate Type]

600m Contour Line

Key ‘Paths’ and ‘Plots’ of interest

Key ‘Paths’ and ‘Plots’ of interest Annotations

Collating Fallout Data - Grasshopper Script 01: Translating 4 colours into 4 circle sizes

Collating Fallout Data - Grasshopper Script 01: Translating 9 layers of circles into 1 accumulative data set

Data set: Accumulated fallout from 9 tests

Data set: Accumulated fallout from Op. Buffalo (4 tests)

Data set: Accumulated fallout from Op. Antler (3 tests)

Data set: Accumulated fallout from Op. Moscaic (2 tests)

Australian EEZ Boundaries

Aeronautical Charts - Flight Paths

Translate

Access

AIRA Remoteness Study 2006

Koppen Climate Type Study Australia

Austrlian Elevations - Geoscience Australia

Google Earth Satelite Imagery

Roads (Major, Secondary, Vechile Tracks) National Map

Aeronautical Charts - Airservices Australia

British Nuclear Test: Buffalo 01 - Fallout Recording

British Nuclear Test: Buffalo 02 - Fallout Recording

British Nuclear Test: Buffalo 3 - Fallout Recording

‘Remote’ [in the traditional Sense]

Activity British Nuclear Test: Buffalo 04 - Fallout Recording

British Nuclear Test: Antler 03 - Fallout Recording

British Nuclear Test: Antler 01 - Fallout Recording

British Nuclear Test: Mosaic 01 - Fallout Recording

British Nuclear Test: Antler 02 - Fallout Recording

9 X Colour extraction of 4 ranges of fallout measurement + The 1x1cm Grid

British Nuclear Test: Mosaic 02 - Fallout Recording

Spatial layers of control

Prohibited Areas - National Map

EEZ Boundaries

Controlled Airspace - Zones 1

Controlled Airspace - Zones 2

200km Australian offshore mineral deposit

Google Earth ‘Photo Sphere’

Australian EEZ Boundary

Contiguous Zone and Territorial Sea Limit

EEZ Cost Baseline

1 : 10,000,000 Key

Zooming in once more, this time the 27 screen shots are kept from the previous scale, as that was the most detailed amount of road data available. This new scale however prompts an exploration into how far one can zoom in with google earth satellite imagery.

The remote boundary has changed again, and this time it is almost entirely made up of the ‘Red Dirt’ outline.

The ‘emptiness’ between roads and flight paths expands as the vastness of the areas finally becomes some what comprehendible. No sites are recognisable, instead they are simply details found while panning the aerial images.

Beginning with the previous ‘end of the road’ point of interest (05), I search for other points like these. These ‘end of the road’ details become the most dominant detail to pick up. Just one photo sphere now lies in the filed, and no street view is available. Where am I and what are these places? Have I hit ‘nothingness’ or am I still within reach of ‘something’? claiming land. Could this be another ‘fallout’?

Fallout: 9 tests worth of data represented as 9 individual layers: (Operation Buffalo - 4 tests: One Tree, Marcoo, Kite and Breakaway / Operation Antler - 3 tests: Tadje, Biak and Taranaki / Operation Mosaic 2 tests: G1 and G2)

‘Remote’ 27°56’17.2”S 129°49’32.6”E? Individual Zooming - Part 04 Perceived ‘remoteness’ Personal Point of interest British nuclear Test Site Google Earth ‘Photo Sphere’ ‘Way point’ - Aviation Nautical Chart ‘Way point’ + Individual 5 LetterIdentifying code ‘Flight Path’ - Aviation Nautical Chart Roads: Major, Secondary, Vehicle Tracks

‘Remote’ - ‘Red Dirt’ ‘Remote’ - 0-600m elevation ‘Remote’ - ‘Hot Desert’ ‘Remote’ - ‘Very Remote’

Largest amount of Accumulated Fallout Smallest amount of Accumulated Fallout ‘Plot of Personal Interest’ ‘Path of personal Interest’

‘End of the Road?’

Floating ‘Waypoint’ Point of Interest End of the Google Streetview Coverage

Approx area of next zoom

Offerings to ideas of ‘remote’: The boundary of ‘remote’, now just a ‘red dirt’ expanse, becomes at once insignificant in the object sense but perhaps incredibly significant when it comes to exploring ideas of the remote. At this scale distance becomes some what comprehendible, but at the same time, un relatable.

Nothing appears as familiar to me, except for the roads I am forced to search for a second time as I am forced to pan the zoomed in satellite at painfully short distances at a time to relocate the roads I wanted to revisit. I feel somewhat distanced from myself in terms of feeling in control of this process, yet the last point of interest continues to demand more attention in my imagination. A lot of the potential sites in this area do…

Zooming in once more, Positioning myself within the previous areas of interest. The ‘remote’ is the fourth time now redefined, and now a boundary made up of mostly ‘the red dirt’ as this became the inner most boundary of overlap out of all the layers used.

The screen is set, the point at 27°56’17.2”S 129°49’32.6”E is centred. With the same _ screen shots needed to achieve the same level of road data as the previous scale, what was previously an overwhelming amount of new detail becomes more spacious, we have reached the limit in terms of road available road date. ‘Roads’ now include more unnamed tracks than those ‘major’ or ‘secondary’.

Flight paths and their named points haven’t increased in complexity either.

A once carved field now seems more mellow or calm as more breathing space emerges with the lack of new detail at this level of zoom. The layer of Fallout however has once again become more thickened. 9 layers, representing 9 separate nuclear tests undertaken on Australian territory now cover the ground. The amount of fallout (high) now almost consistent across the field.

Entering in and out of ‘Street view’ is now no longer an option, and just one ‘photo sphere’ provides a virtual ‘on the ground’ experience of an unknown place. Details such as ‘the end of the road’ have carried on from the previous scale and can now be observed in more detail.

From latest point of interest (04), the unusually shaped plot created by interesting tracks, a new and final point is added (05), Path 03 has emerged as a significant ‘end of the road’ as it ventures out into the great ‘negative’ space.

A space defined by both paths on the ground and in the air space above. With points of interest 01 and 03 now out of the field, the remaining points triangulate and centre this final point.

With more activity or information now lying to the top right; slightly higher fallout, the only photo sphere, a singular floating way point, and more informal paths, the less activity now falls to the bottom left. The new ‘end of the road’ detail falls interestingly in-between the two. From an ‘on the ground’ perspective this point suggests an idea of ‘nothing ness’ with no neighbouring road in sight, while from an above perspective this point can most likely be seen on a clear day out the aeroplane window. Ideas of nothingness and everything therefor seem to exist at the same time.

Areas of Interest: 01 - ‘Path’: Stuart Hwy 02 - ‘Plot’: The Leaning plot 03 - ‘Path’: 4 Lassester Hwy 04 - ‘Plot’: The Triangular Plot 05 - ‘Path’: The Unnamed road

Fallout: 9 tests worth of data represented as 9 individual layers: (Operation Buffalo - 4 tests: One Tree, Marcoo, Kite and Breakaway / Operation Antler - 3 tests: Tadje, Biak and Taranaki / Operation Mosaic 2 tests: G1 and G2)

‘Remote’ 27°56’17.2”S 129°49’32.6”E? Individual Zooming - Part 04

S

10km

1 : 550,000

36 ‘Screenshot’

Key

S

S+ Google Maps Base

Collect Collate Google Maps Street View [10 Screenshots]

Aeronautical Charts - Flight Paths

Extract Flight Paths

Translate

Visible Roads

‘Paths’ Cropped to the new ‘Remote’ Boundary

‘Red Dirt’

Key Paths and Plots of Interest annotated layer

Key Paths and Plots of Interest

Access

AIRA Remoteness Study 2006

Koppen Climate Type Study Australia

Google Earth Satelite Imagery

Roads (Major, Secondary, Vechile Tracks) National Map

British Nuclear Test: Buffalo 01 - Fallout Recording

British Nuclear Test: Buffalo 02 - Fallout Recording

Austrlian Elevations - Geoscience Australia

‘Remote’ [in the traditional Sense]

9 X Colour extraction of 4 ranges of fallout measurement + The 1x1cm Grid

British Nuclear Test: Buffalo 3 - Fallout Recording

Data set: Test 01 - Buffalo 01

Data set: Test 01 - Buffalo 02

Data set: Test 01 - Buffalo 03

Data set: Test 01 - Buffalo 04

Data set: Test 01 - Antler 01

Data set: Test 01 - Antler 02

Data set: Test 01 - Antler 03

Data set: Test 01 - Mosaic 01

Activity British Nuclear Test: Buffalo 04 - Fallout Recording

British Nuclear Test: Antler 01 - Fallout Recording

British Nuclear Test: Antler 02 - Fallout Recording

British Nuclear Test: Antler 03 - Fallout Recording

British Nuclear Test: Mosaic 01 - Fallout Recording

British Nuclear Test: Mosaic 02 - Fallout Recording

Controlled Airspace - Zones 1

Controlled Airspace - Zones 1

Expansion of collective territory

EEZ Boundaries

EEZ Boundaries

Collating Fallout Data - Grasshopper Script 01: Translating 4 colours into 4 circle sizes

Collating Fallout Data - Grasshopper Script 01: Translating 9 layers of circles into 1 accumulative data set

Data set: Test 01 - Mosaic 02

XS?

Conclusion With Australia’s Economic Exclusions Zone now one of the largest in the world, and, with the limits of the virtual zoom extents having now been reached, whats next? Whats next for ‘Australian’ territory, and what is next for remote visual access of this territory? And, what does this mean for the role of the designer?

But perhaps more interestingly, how has this process of remotely zooming in informed my ideas of ‘remoteness’, and what can this process of zooming in and establishing areas of interest offer to a practice of landscape architecture - whether that be my own practice moving forward, or, for the discipline more generally?

Critically reflecting, was my search for ‘remote’, both conceptually and spatially on the map, as much driven by an aesthetic desire as it was informed by environmental or spatial conditions? Yes. Was I perhaps more interested in finding locations that looked or felt more ‘remote’ than areas defined by interesting relationships between conditions? Yes. This perhaps offers something to the idea of ‘remoteness’.

Perhaps a definition of ‘remoteness’ has become, throughout this project, less about either the ‘traditional’ (the image of a hot dry endless red expanse, in the middle of nowhere, miles away from help) or my personal alternative (a place that instills a feeling of distance with one’s self, regardless of the location or physical distance from a point of origin), but instead something in-between these ideas. Is the ‘remote’ then an ‘aesthetic’ as much as it is a measure of physical distance, or personal distance from one’s self?

If then the ‘remote’ is considered as ‘aesthetic’ how does this manipulate, but also open up, the process of exploring sites? And, if my future landscape architectural practice is concerned with developing projects that interrogate the hidden ‘activity’ that lies ‘out there’ (both in the sense of physical distance, but also in the collective’s understanding of the world around us), then the perhaps this process has something to offer the selection of sites.

The Bouncing between path and plot, is like venturing out and then retreating back inwards, imagining a point of isolation and then imagining the feeling of wanting to return back to the safety of infrastructure.

The sites that emerged from this process are definitely worthy of future design research exploration.

The process of finding these sites, it worth developing, but also worth remaining critical about. Is the process of zooming in from a far not too dissimilar to that of a colonising practice? And Is the craving of finding the ‘new’ or ‘undiscovered’ project concept some what similar to searching for new areas to expand one’s territory. As Designers, there can be desire, amongst a culture of innovation, to work with the ‘new’ and the ‘hidden’, especially with more focus (and perhaps even a trend) towards anthropocentric activity.

A refection for myself and for others would be to remain mindful of why I am selecting the sites and project concepts I am. Remain critical to how you are expanding your territory and which conceptual spaced you are occupying. Remain aware of any potential fallout.

Reflection on process Not knowing, or not being able to articulate the project was a place I found myself in for the majority of the semester. It was not until about 3 weeks out from the end the the projects narrative came together.

While the clarification and ‘light bulb’ moment was immensely satisfying and exciting, it came with the realisation of how much work was still involved to see out the project. The concept had essentially set up a whole new exercise of mapping; a exploration of personally zooming into the ‘remote’ (south australia) via the ‘remote’ (a virtual platform).

With limited time, some aspects of the mapping fell short, as particular elements of the process were not executed to the greatest level of detail. Without the level of detail being carried across, and developing, across each scale of the map, it meant the outcomes of the process formed in quite a particular way and leaves the question, what would they have become if the level of detail was consistent throughout the process?

For example, the 4 layers of information, Topography, Climate, Red Dirt, and National Remoteness, that were used to create the ‘remote’ boundary, started off using 4 different base maps at the Australian scale.

Here, the detail of each piece of information was more or less consistent with each. As I moved to the next scale however, I ran out of time to update this information in some ways. That is, I was able to find a new level of detailed topographic data, and I was able to zoom into the aerial image, however I did not leave myself enough time to search for more detailed climatic conditions or a more detailed study of ‘distance from services by locality’ study’. This meant the way in which each of the four elements were impacting the creation of the ‘remote’ boundary was inconsistent, especially when, by the fourth scale, the only piece of information that was more detailed from the original layer used, was that of the aerial image - this also happened to be one of more ‘subjective’ pieces of informative information (the extraction of an outline was determined by my eye, instead of a scientific analysis).

While this is frustrating in the sense that it doesn’t feel like I saw out a ‘fair test’ in a sense, it does make for an interesting note to my conclusion. With the ‘remote’ boundary becoming in some ways more a ‘subjective’ construct, dominated by my personal visual interoperation, ideas of aesthetics and the image begin to speak to ideas of remoteness.

‘Remoteness’ as

‘Something’ as

‘Nothingness’ as

‘Remote’ Australia as

‘Fallout’ as

‘Aesthetic’ as

Document as

With thanks to

Remoteness as ‘nothingness’ Remoteness as ‘Everything’ or ‘Something’ Remoteness as a combination of the two Remoteness as the feeling of distance from one’s self Remoteness as an aesthetic Remoteness as a site Remoteness as a concept Remoteness as a project

‘Something’ as hidden activity ‘Something’ as roads ‘Something’ as nuclear testing ‘Something’ as systems and processes ‘Something’ as invisible history ‘Something’ as material flows ‘Something’ as stories ‘Something’ as paths once traveled ‘Something’ as remote coverage ‘Something’ as points on a map ‘Something’ as narrative ‘Something’ as the horizon

‘Nothingness’ as white space ‘Nothingness’ as emptyness ‘Nothingness’ as negative space ‘Nothingness’ as the feeling of distance ‘Nothingness’ as the feeling of numbness ‘Nothingness’ as no nuclear fall out ‘Nothingness’ as an endless expanse ‘Nothingness’ as a ongoing repetitive visual ‘Nothingness’ as the horizon

Remote Australia as ‘out there’?

Remote Australia as the place where hidden activity lies Remote Australia as ‘nothingness’ but ‘everthing’ Remote Australia as a potential site for future design research project Remote Australia as the image built into our national identity Remote Australia as an aesthetic

Fallout as losing your bearings Fallout as confusion Fallout as a conceptual break through in ones process Fallout as unintended effect Fallout as an accident Fallout as a light bulb moment Fallout as impressive

Aesthetic as visual Aesthetic as ‘a vibe’ Aesthetic as ‘an image’ Aesthetic as a feeling Aesthetic as more than visual Aesthetic as the every day Aesthetic as a written description

Document as a reflection Document as a method for finding site’s Document as ongoing exploration Document as a learning process Document as a collection of subjective maps Document as a tool for understanding ‘remoteness’ Document as a collection of territories

Dinkums Print and Copy for their patience and assistance in scanning over 100 A1 layers of trace paper.

Oskar Rosa for his assistance with deriving a grasshopper script capable of fallout data translation.

Elise and Tom, for their ongoing support, critical feedback, and interest in my project. Thank you for showing me a whole new approach to landscape.

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017. Unknown Author and Date, Screenshots of: Stuart Hwy, Screenshot, Google, viewed 23 May 2021, <https://www.google.com/ maps/@-27.8313693,138.0336271,7173381m/ data=!3m1!1e3?hl=en>

035. S, Lee, 2010, Decoding the Data Landscape, Drawing, Unknown Fields Division, viewed 20 April 2021, <http://www.unknownfieldsdivision.com/ winter2010outbackaustralia-neverneverlands_prospectingindreamtime.html>

018. Unknown Author and Date, Screenshots of: Stuart Hwy, Screenshot, Google, viewed 23 May 2021, <https://www.google.com/ maps/@-27.8313693,138.0336271,7173381m/ data=!3m1!1e3?hl=en>

036. S, Lee, 2010, Orbital Calendar of Magnetic Flux, Drawing, Unknown Fields Division, viewed 20 April 2021, <http://www.unknownfieldsdivision. com/winter2010outbackaustralia-neverneverlands_ prospectingindreamtime.html>

019. Unknown Author and Date, Screenshot of: Unknown Road, Screenshot, Google, viewed 23 May 2021, <https://www.google.com/ maps/@-27.8313693,138.0336271,7173381m/ data=!3m1!1e3?hl=en>

037. S, Lee, 2010, Panoramic Journey through Contested Landscape, Drawing, Unknown Fields Division, viewed 20 April 2021, <http://www.unknownfieldsdivision.com/winter2010outbackaustralia-neverneverlands_prospectingindreamtime.html>

020. Unknown Author and Date, Screenshot of: Unknown Airfield, Screenshot, Google, viewed 23 May 2021, <https://www.google.com/ maps/@-27.8313693,138.0336271,7173381m/ data=!3m1!1e3?hl=en>

038. Unknown Author + Date, Unknown Title, Drawing Speeds with Perry Kulper - Archinect, viewed 20 April 2021, < viewed 20 April 2021, <https://archinect.com/blogs/gallery/73570777/5/ drawing-speeds-with-perry-kulper>

021. Unknown Author and Date, Screenshot of: Emu Field Test Site, Screenshot, Google, viewed 23 May 2021, <https://www.google.com/ maps/@-27.8313693,138.0336271,7173381m/ data=!3m1!1e3?hl=en> 022. Unknown Author and Date, Screenshot of: Emu Field Test Site - max. Zoom in, Screenshot, Google, viewed 23 May 2021, <https://www.google.com/maps/@27.8313693,138.0336271,7173381m/ data=!3m1!1e3?hl=en> 023. Unknown Author and Date, Screenshot of: Unknown road, Screenshot, Google, viewed 23 May 2021, <https://www.google.com/ maps/@-27.8313693,138.0336271,7173381m/ data=!3m1!1e3?hl=en>

Images - Expanded Collection 039. Unknown Author and Date, How Airspace is Managed, Diagram, Airservices Australia, viewed 25 April 2021, <https://www.airservicesaustralia. com/about-us/our-services/how-air-traffic-controlworks/how-airspace-is-managed/> 040. Unknown Author, 2021, AIP Charts, ERC High, ERCH 3, Map, Airservices Australia, viewed 25 April 2021, <https://www.airservicesaustralia.com/ aip/aip.asp?pg=60&vdate=17JUN2021&sect=ERCHigh&ver=2> 041. Unknown Author and Date, Coverage: Australian Airspace, Diagram, Airservices Australia, viewed 25 April 2021, <https://www.airservicesaus-

tralia.com/about-us/about-our-operations/> 042. B1mbo, 2011, Australia’s exclusive economic zones, including its Antarctic claim, Diagram, Wikipedia, viewed 25 April 2021, <https://en.wikipedia. org/wiki/Exclusive_economic_zone_of_Australia#/ media/File:Territorial_waters_-_Australia.svg> 043. Historicair, 2006, Sea areas in international rights (top down view), Diagram, Wikipedia, viewed 25 April 2021, <https://en.wikipedia.org/wiki/Exclusive_economic_zone#/media/File:Zonmar-en.svg> 044. Unknown Author and Date, Map of exclusions zones, Diagram, Australian Government: Department of Defence, viewed 25 April 2021, <https://www1.defence.gov.au/bases-locations/sa/ woomera/access/exclusion-periods> 045. Unknown Author and Date, Screenshot of: ‘Streetview’, Screenshot, Google, viewed 25 April 2021, <https://www.google.com/ maps/@-27.8313693,138.0336271,7173381m/ data=!3m1!1e3?hl=en> 046. Unknown Author and Date, Screenshot of: Limits of national jurisdiction and sovereignty, Screenshot, Wikipedia, viewed 25 April 2021, <https://en.wikipedia.org/wiki/International_waters> 047. Unknown Author and Date, Screenshot of: Map of Maralinga Range, Screenshot, Australian Royal Commission Report Page 275 , viewed 25 April 2021, <https://parlinfo.aph. gov.au/parlInfo/download/publications/tabledpapers/HPP032016010928/upload_pdf/ HPP032016010928.pdf;fileType=application%2Fpdf#search=%22publications/tabledpapers/ HPP032016010928%22> 048. Unknown Author and Date, Map of Maralinga Range, Screenshot, Australian Royal Commission Report Page 323 , viewed 25 April 2021, <https:// parlinfo.aph.gov.au/parlInfo/download/publications/ tabledpapers/HPP032016010928/upload_pdf/ HPP032016010928.pdf;fileType=application%2Fpdf#search=%22publications/tabledpapers/ HPP032016010928%22> 049. Unknown Author and Date, Screenshot of: ‘Aerial View’ Maralinga, Screenshot, Google, viewed 25 April 2021, <https://www.google.com/ maps/@-29.3792117,134.7476942,3932820m/ data=!3m1!1e3?hl=en> 050. Jacobolus, 2007, The Munsell Colour System, Diagram, Wikipedia, viewed 25 April 2021, <https:// en.wikipedia.org/wiki/Munsell_color_system#/media/File:Munsell-system.svg>

City Of Darkness, viewed 07 March 2021, <https:// en.wikipedia.org/wiki/Kowloon_Walled_City>

tudes, Photography, nai010 Publishers, viewed 07 March 2021, <https://exactitudes.com/collectie/>

062. R, Perkins 2018, Mystery Road, Television Series, viewed 07 March 2021, <http://australianscreenreview.com.au/review/its-a-murder-thingthe-multi-layered-mystery-road-franchise/>

086. Author Unknown, 1972, Demolition of Pruitt-Igoe, photography, U.S. Department of Housing and Urban Development Office of Policy Development and Research, viewed 07 March 2021, <https://www.atlasobscura.com/articles/ pruitt-igoe>

063. L, Wallworth 2017, Collisions, ACMI, viewed 07 March 2021, <https://www.acmi.net.au/whatson/past-exhibitions-collisions-lynette-wallworth/> 064. H, Feldmann 2019, Hefte, Video, viewed 07 March 2021, <https://vimeo.com/286074798> 065. S, Gladwell 2007, Approach to Mundi Mundi, high-definition digital color video, viewed 07 March 2021, <https://www.artforum.com/picks/ shaun-gladwell-19097> 066. S, Elliot 1994, The Adventures of Priscilla, Queen of the Desert, film, viewed 07 March 2021, <https://www.nfsa.gov.au/latest/adventures-priscilla-queen-desert-25th-anniversary> 067. P, Corcoran and K, Jazvac 2012, Plastiglomerate, Artwork, viewed 07 March 2021, <https://www.e-flux.com/journal/78/82878/plastiglomerate/> 068. A, Denes 1982, Wheatfield: A Confrontation: Battery Park Landfill, Downtown Manhattan, Artwork, viewed 07 March 2021, <http://www.agnesdenesstudio.com/works7.html> 069. L, Young 2010, Unknown Fields Division: WINTER 2010_NEVER NEVER LANDS: Prospecting in Dreamtime, project, viewed 07 March 2021, <http:// www.unknownfieldsdivision.com/winter2010outbackaustralia-neverneverlands_prospectingindreamtime.html> 070. I, Miyake 2007, ISSEY MIYAKE, film, viewed 07 March 2021, <https://www.youtube.com/ watch?v=aYL4TyV1YDk> 071. Formafantasma 2017, Ore Streams, Sculpture, viewed 07 March 2021, <https://formafantasma. com/work/ore-streams> 072. L, Dearden 2015, The Boneyard, Photograph, The Independent, viewed 07 March 2021, <https:// www.independent.co.uk/news/world/americas/ world-s-largest-plane-graveyard-us-military-fighters-desert-can-now-be-explored-online-a151656. html> 073. R, Serra 2007, Open Ended, sculpture, Museum Voorlinden, viewed 07 March 2021, <https:// www.voorlinden.nl/exhibition/highlights/?lang=enl>

087. A, Clapham, 2017, Riso experiment .1, Print, Andrew Clapham Design, viewed 07 March 2021, <https://www.instagram.com/p/BXwvyPTHJzX/> 088. N, ten Westenend, 2014, Tractordans, Performance artwork, viewed 07 March 2021, <https:// landschapstriennale.com/programma/voedsel-en-stad-betekenis-grond/> 089. Bik Van Der Pole, 2017, Letters to the land, Artwork, Australian Centre for Contemporary Art, viewed 07 March 2021, <https://www.broadsheet. com.au/melbourne/art-and-design/article/acca-how-were-greater-together> 090. Al, Crosby and S, Pearce, 2015, Bush Pencils (yarra nhiki), Artwork, Interprative Wonderings Project, viewed 07 March 2021, <https://www.uts. edu.au/sites/default/files/dab-interpretive-wonderings-exhibition-catalogue.pdf> 091. T, Cole, 2015, Extract, Artwork, Interprative Wonderings Project, viewed 07 March 2021, <https://www.uts.edu.au/sites/default/files/dab-interpretive-wonderings-exhibition-catalogue.pdf> 092. J, Corner, 1994, Taking Measure Across the American Landscape, Diagram, AA Files 27 Summer, viewed 07 March 2021, <https://rndrd. com/n/863> 093. R, Margritte, 1937, La Reproduction Inerdite, Painting, Museum Boijmans Van Beuningen, viewed 07 March 2021, <https://www.boijmans.nl/ en/collection/artworks/4232/la-reproduction-interdite> 094. O, Eliason, 2014, Riverbed, Artwork, Louisiana Museum of Modern Art, viewed 07 March 2021, <https://www.archdaily.com/540338/olafur-eliasson-creates-an-indoor-riverbed-at-danish-museum> 095. N, Sleumer, 2019, The Transboundary Loophole, Artqwork, Geodesign Exhibition - Van Abbe Museum Eindhoven, viewed 07 March 2021, <https://www.dezeen.com/2019/10/25/geo-designjunk-exhibition-dutch-design-week/>

075. Zimoun, Various Dates, Various works, sculpture, viewed 07 March 2021, <https://www.zimoun. net>

096. J, Smart, 1962, Cahill Expressway, Painting, National Gallery of Victoria, viewed 07 March 2021, <https://www.ngv.vic.gov.au/explore/collection/ work/3000/> And, J, Smart, 1983, Morning, Yarragon Siding, Painting, viewed 07 March 2021, <http://www.artnet. com/artists/jeffrey-smart/morning-yarragon-siding-1983-84-aQZOrgbndpPbKex_a1ca6g2>

Images - Mindmap Collection

076. G, Manuagh, 2021, Color-sampling Pennsylvania, maps, viewed 07 March 2021, <https://www. instagram.com/p/CLnKQyNHq5K/>

097. City in The Sky, 2017, Documentary, BBC, viewed 07 March, <https://www.bbcnewzealand. com/shows/city-in-the-sky/>

053. M, Parr and G, Badger 2001, Fruits, Photography, Phaidon Press, viewed 07 March 2021, <https://www.phaidon.com/agenda/photography/ articles/2014/april/14/the-book-that-captured-presartorialist-street-style/>

077. E, Burtynsky, 2009, Australian Minescapes, Photographs, viewed 07 March 2021, <https:// artblart.com/2009/08/06/exhibition-edward-burtynsky-australian-minescapes-at-the-australian-centre-for-photography-sydney/>

098. K, Poliness, 2021, Parliament Steps Walking Drawing, Artwork, Australian Centre for Contemporary Art, viewed 07 March, <https://acca. melbourne/kerrie-poliness-parliament-steps-walking-drawing>

054. Italian Limes, 2014, Installation, la Biennale di Venezia, viewed on 07 March 2021 <http://www. italianlimes.net/project.html>

078. Author and date unknown, Eye Spy, book, viewed 07 March 2021, <https://www.reddit.com/r/ nostalgia/comments/55luk5/i_spy_books/>

055. S, Coppola 2003, Lost In Translation, Film Still, American Zoetrope and Elemental Films, viewed 07 March 2021, <https://www.girlsontopstees. com/read-me/2020/4/24/connecting-with-disconnection-the-endurance-of-twenty-something-ennui-in-lost-in-translation>

079. C, Friedrich, 1818, Wandered above the sea fog, Painting, Hamburger Kunsthalle viewed 07 March 2021, <https://en.wikipedia.org/wiki/Wanderer_above_the_Sea_of_Fog>

099. C, Maseey, 2020, One fence, two ways to cultivate land in South Africa, Photograph, Call of the Read Warbler, viewed 07 March, <https://www. patagonia.com.au/blogs/roaring-journals/a-blueprint-for-cooling-earth>

051. Unknown Author, 2017, Representation and Aircraft Behaviour, Screenshot, Skybrary, viewed 25 April 2021, <https://aviationsafetywiki.org/index. php/Waypoint> 052. Unknown Author and Date, Screenshot of: Nautical Mile, Screenshot, Wikipedia, viewed 25 April 2021, <https://en.wikipedia.org/wiki/Nautical_mile>

074. Studio Plastique, 2019, Sand Drawing, sculpture, GeoDesign, viewed 07 March 2021, <https:// www.dezeen.com/2019/10/25/geo-design-junk-exhibition-dutch-design-week/>

056. M, Whitelaw 2008, Watching the Sky, Photography, viewed 07 March 2021, <https://mtchl.net/ watching-the-sky/>

080. Experimental Jetset, 2015, Statement and Counter-Statement (Notes on Experimental Jetset / Volume 1), Book, Roma Publications, viewed 07 March 2021, <https://www.romapublications.org/ Roma201-400.html>

057. Formafantasma, 2020, Cambio, Project Exhibition, Serptine Gallery, viewed on 07 March 2021 <http://www.cambio.website>

081. Christo and J, Claude, 1968, Wrapped Coast, Public Artwork, viewed 07 March 2021, <https:// christojeanneclaude.net/artworks/wrapped-coast/>

058. M, Prior 2014, Free Organum, Installation, Blindside, viewed 07 March 2021, https://michaelprior.org/Free-Organum>

082. G, De Ruijter, 2012, Almost Nature, Photography, viewed 07 March 2021, <http://www.gercoderuijter.com/gerco2/site/project/photo/991>

059. F, Allys 1997, Paradox of Praxis, Performance Art, Mexico City, viewed 07 March 2021, <https:// publicdelivery.org/francis-alys-ice/>

083. J, Cage, 1958, Fontana Mix, Drawing, viewed 07 March 2021, <https://medium.com/@nghinghiem04/fontana-mix-1958-john-cage-3145720b66c2ab3ceca>

060. De StraatMakers— Colours of the City, 2019, Project, AtelierNL, viewed on 07 March 2021 <https://www.ateliernl.com/projects/de-straatmakers> 061. Kowloon Walled City, 1989, Photography,

084. J, Turrell, 2016, Skyspace, Artwork, Museum Voorlinden, viewed 07 March 2021, <https://www. voorlinden.nl/james-turrell-skyspace/> 085. A, Versluis and E, Uyttenbroek, 1994, Exacti-

0100. P, Docter and D, Silverman 2001, Monsters Inc., Film, viewed 07 March, <https://www.wdwradio.com/2017/05/imagineering-monsters-inc-roller-coaster/>

Appendix

02. Supporting Pages / Process Pages Overlays

03. Imagery used in XL maps

01. Map Overlays

020. Screen Shot 2021-05-23 at 2.45.08 pm [Bib ref. Image 024] 01. Screen Shot 2021-05-18 at 7.58.27 pm [Bib ref. Image 05]

012. 6 Screen Shot 2021-05-23 at 2.05.25 2.06.06 pm [Bib ref. Image 016] 022. Screen Shot 2021-05-23 at 2.47.52 pm [Bib ref. Image 025] 01.

Annotation Layer of ‘Crossover’ between Individual (pink) and Collective (Orange) Narratives Part 01: XL Map

02. Screen Shot 2021-05-18 at 8.04.58 pm [Bib ref. Image 06]

013. 13 Screen Shot 2021-05-23 at 1.47.58 pm -1.54.36 pm [Bib ref. Image 017]

06. Imagery used in S maps 01.

Annotation Layer of Process - Part 01: XL Supporting Page

022. Screen Shot 2021-05-23 at 2.52.19 pm [Bib ref. Image 026] 03. Screen Shot 2021-05-18 at 8.06.18 pm [Bib ref. Image 07]

014. Screen Shot 2021-05-23 at 2.40.21 pm [Bib ref. Image 018]

04. Screen Shot 2021-05-18 at 8.07.40 pm [Bib ref. Image 08] 02.

Annotation Layer of ‘Crossover’ between Individual (pink) and Collective (Orange) Narratives Part 01: L Map 010. 6 Screen Shot 2021-05-23 at 1.47.58 1.48.23 pm [Bib ref. Image 014]

015. Screen Shot 2021-05-23 at 2.40.32 pm [Bib ref. Image 019]

024. 7 Screen Shot 2021-05-23 at 7.13.11 7.13.43 pm [Bib ref. Image 028]

05. Imagery used in M maps

02.

Annotation Layer of Process - Part 02: L Supporting Page

05. Screen Shot 2021-05-18 at 8.09.59 pm [Bib ref. Image 09]

016. Screen Shot 2021-05-23 at 2.41.55 pm [Bib ref. Image 020]

025. Screen Shot 2021-05-23 at 7.15.23 pm [Bib ref. Image 029]

011. Screen Shot 2021-05-08 at 9.20.29 pm [Bib ref. Image 015]

06. Screen Shot 2021-05-18 at 8.11.08 pm [Bib ref. Image 010]

04. Imagery used in L maps 03.

Annotation Layer of ‘Crossover’ between Individual (pink) and Collective (Orange) Narratives Part 01: M Map

03.

Annotation Layer of Process - Part 03: M Supporting Page

017. Screen Shot 2021-05-23 at 2.43.30 pm [Bib ref. Image 021]

07. Screen Shot 2021-05-18 at 10.40.41 pm [Bib ref. Image 011]

018. Screen Shot 2021-05-23 at 2.43.39 pm [Bib ref. Image 022]

08. Screen Shot 2021-05-18 at 10.41.13 pm [Bib ref. Image 012]

019. Screen Shot 2021-05-23 at 2.45.01 pm [Bib ref. Image 023]

01.

Annotation Layer of ‘Crossover’ between Individual (pink) and Collective (Orange) Narratives Part 01: S Map

04.

Annotation Layer of Process - Part 04: S Supporting Page

023. 7 Screen Shot 2021-05-23 at 2.54.27 2.55.05 pm [Bib ref. Image 027]

026. 4 Screen Shot 2021-05-23 at 7.14.03 pm 7.14.24 pm [Bib ref. Image 030]

09. Screen Shot 2021-05-18 at 10.41.44 pm [Bib ref. Image 013]

07. ‘Expanded Collection’ - Precedent Drawings

09. Mind Map

02. Sample from ERCH3 AIP Chart - ERC HIGH [Bib ref. Image 040]

05. Samantha Lee / Decoding the Data Landscape / 2010 [Bib ref. Image 035]

01. A Mind Map / Visual Collection - Part 01 Pieces of the collection are semi-curated, grouped and collated into thematics that have begun to emerge. Some pieces of the collection have been placed twice amongst more than one group as they relate to more than one theme. I place myself as the map maker in the centre. With peices of the collection placed either side of me, the idea of ‘binaries’ is foreshadowed.

09. Australian Royal Commision / Map of Maralinga Range [Bib ref. Image 047] 01. Francesco Belfiore / Territorial Pissing / 2011 [Bib ref. Image 031]

03. Airservices Australia, Coverage: Australian Airspace [Bib ref. Image 041]

04. Wikipedia / Australia’s exclusive economic zones [Bib ref. Image 042]

010. Australian Royal Commision / Conclusions of Op.Buffalo [Bib ref. Image 048]

06. Samantha Lee / Orbital Calendar of Magnetic Flux / 2010 [Bib ref. Image 036] 02. A Mind Map / Visual Collection - Part 02 The layers within the center begin to thicken, with the ‘field’ of collection set up, the process of drawing out ideas begins. My self as the mapmaker, ‘Louella’, which sits in the center is now overlayed with a series of dualities that relate to myself as a person. The origins of my name, my two homelands, and my two star-signs suggest a sort of ‘sitting in the middle’.

02. Alex Liang / Ghosts in the Spectrum / 2011 [Bib ref. Image 032]

011. Google / Maralinga [Bib ref. Image 049]

07. Samantha Lee / Panoramic Journey through Contested Landscape / 2010 [Bib ref. Image 037] 05. Wikipedia, Sea areas in international rights (top down view) [Bib ref. Image 043]

03. A Mind Map / Visual Collection - Part 03 The layers across the field begin to thicken. Key themes emerge out of the collection and these are set up as a series of 13 dualities. These 13 dualities can also be grouped, collated into 5 thematic areas as some of the dualities relate more to one another.

Key words 01: Chaos / Order, Spontaneous / Planned, The Singular / The Multiple, The Individual / The Collective, Observer / Participant, From Above / On the ground, Distant Recording / Embodied Experience, Material / System, Detail / Complexity, Moment / Infinite Possibilities, Bold / Minimal, Statement / Simple, Outrageous / Modest.

012. Samples from my notebook [Scanned 25 Aprial 2021] 08. ‘Drawing Speeds with Perry Kulper’ [Bib ref. Image 038]

012. Map of Maralinga [Image source unknown]

08. ‘Expanded Collection’ - Visual Information 03. Gustav Toftgard / Harvest / 2012 [Bib ref. Image 033]

013. Skybrary / Representation and Aircraft Behaviour [Bib ref. Image 051]

06. AU Gov / Map of Exclusion Zones [Bib ref. Image 044] 08. Wikipedia / Limits of national jurisdiction and sovereignty [Bib ref. Image 046]

04. Drawing by Perry Kulper [Bib ref. Image 034]

01. How Airspace is Managed / Airservices Australia [Bib ref. Image 039] 07. Google / Streetview [Bib ref. Image 045]

013. Wikipedia / Munsell Color System [Bib ref. Image 050]

014. Wikipedia / Nautical Mile [Bib ref. Image 052]

04. A Mind Map / Visual Collection - Part 04 Finally a fourth layer emerges. From these 5 groups of dualities, an interconnected web of ideas can be drawn out. Here, less directly related, or ‘random’ discoveries between pieces of the collection emerge. This process results in a second set of key words. This set of key words might be understood as ‘tools’ within which to approach the mapping.

Key words 02: Sublime Encounter, Event, Surreal / Humorous, Sample, Mini Worlds, Per formative, Objects, The Circle, The Grid, Earth Tones, The Road, The Horizon.

Initial MindMap Collection

07. Free Organum / Michael Prior / 2014 [Bib ref. Image 058]

014. Hans-Peter Feldmann / Hefte / 2019 [Bib ref. Image 064]

01. Sun Tunnels / Nancy Holt / 1976 [source unknown ]

037. Ari Versluis and Ellie Uyttenbroek / Exactitudes / 1994 [Bib ref. Image 085] 020. Liam Young / Unknown Fields Division / 2010 [Bib ref. Image 069]

044. Mapping / Drawing of a roundabout [Source Unknown]

031. Caspar David Friedrich / Wandered above the sea fog / 1818 [Bib ref. Image 079]

051. Earth Wall / Water Museum , Osaka [Personal Photograph taken June 2019]

057. Construction Activity [Personal Photograph taken July 2020]

052. Jeffrey Smart, Cahill Expressway (1962) and Morning, Yarragon Siding (1983) [Bib ref. Image 096]

057. Drawing / Mapping [Image source unknown]

038. Demolition of Pruitt-Igoe / 1972 [Bib ref. Image 086]

021. Issey Miyake / ISSEY MIYAKE / 2007 [Bib ref. Image 070]

08. Francis Alys / Paradox of Praxis / 1997 [Bib ref. Image 059] 015. Sean Gladwell / Approach to Mundi Mundi / 2007 [Bib ref. Image 065]

045. Thomas Cole, Extract, 2015 [Bib ref. Image 091]

022. Formafantasma / № 2.1.5.17 – Cubicle 2. / 2017 [Bib ref. Image 071]

02. Fruits / Martin Parr and Gerry Badger / 2001 [Bib ref. Image 053]

032. Experimental Jetset / Statement and Counter-Statement/ 2015 [Bib ref. Image 080] 027. Zimoun / Various Works [Bib ref. Image 075]

09. AtelierNL / De StraatMakers — Colours of the City / 2019 [Bib ref. Image 060]

039. Construction Markup [Personal Photograph taken December 2019]

033. Christo and Jean-Claude / Wrapped Coast / 1968 [Bib ref. Image 081]

03. Italian Limes Installation / 2014 [Bib ref. Image 054]

046. James Corner, 1994 [Bib ref. Image 092] 053. City in the Sky Documentary, 2017 [Bib ref. Image 097]

040. Andrew Clapham / Riso experiment .1 / 2017 [Bib ref. Image 087]

058.Drawing / Mapping [Image source unknown]

023. Photo roll / Author Unknown [Personal Photograph taken January 2020] 04. Lost In Translation / Sofia Coppola / 2003 [Bib ref. Image 055]

010. Kowloon Walled City / 1989 [Bib ref. Image 061] 047. Rene Margritte / La Reproduction Inerdite / 1937 [Bib ref. Image 093]

016. Drawings by Emma McNally [Source Unknown]

059. Charles Massey / One fence, two ways to cultivate land in South Africa [Bib ref. Image 099]

028. Geoff Manuagh / Color-sampling Pennsylvania/ 2021 [Bib ref. Image 076] 024. Lizzie Dearden / The ‘Boneyard’ / 2015 [Bib ref. Image 072]

041. Neeltje ten Westenend / Tractordans / 2014 [Bib ref. Image 088] 034. Gerco de Ruijter / Almost Nature / 2012 [Bib ref. Image 082]

017. Stephan Elliot / The Adventures of Priscilla, Queen of the Desert / 1994 [Bib ref. Image 066]

05. Watching the Sky / Mitchell Whitelaw / 2008 [Bib ref. Image 056]

054. Sequence drawing [Image source unknown] 048. Ollafur Eliasion / Riverbed / 2014 [Bib ref. Image 094] 060. Pete Docter and David Silverman / Monsters Inc / 2001 [Bib ref. Image 0100]

025. Richard Serra / Open Ended / 2007-2008 [Bib ref. Image 073] 042. Bik Van Der Pol / Letters to the land / 2017 [Bib ref. Image 089]

011. Mystery Road / 1989 [Bib ref. Image 062]

055. Kerrie Poliness / Parliament Steps Walking Drawing / 2021 [Bib ref. Image 098]

035. John Cage / Fontana Mix / 1958 [Bib ref. Image 083]

06. Project Cambio / Formafantasma / 2020 [Bib ref. Image 057]

018. Patricia Corcoran and Kelly Jazvac /Plastigonglomerate / 2012 [Bib ref. Image 067]

025. Richard Serra / Title Unknown [Source Unknown]

029. Edward Burtynsky / Australian Mines / 2009 [Bib ref. Image 077]

049. Construction Markup [Personal Photograph taken September 2020]

061. Books by Kenya Hara [Image source unknown]

012. Lynette Wallworth / Collisions / 2017 [Bib ref. Image 063]

07. Amazon 2016 / Author unknown [Personal Photograph taken January 2020]

013. Performance Film [source unknown ]

019. Agnes Denes / Wheatfield / 1982 [Bib ref. Image 068]

026. Studio Plastique / Sand drawing / 2019 [Bib ref. Image 074]

030. Author Unknown / Eye Spy Books [Bib ref. Image 078]

036. James Turrell / Skyspace / 2015 [Bib ref. Image 084]

043. Alexandra Crosby & Sophia Pearce / Bush Pencils (yarra nhiki) / 2015 [Bib ref. Image 090]

050. Noud Sleumer / The Transboundary Loophole / 2015 [Bib ref. Image 095]

056.Sequence drawing [Image source unknown]

062. Drawing / Mapping [Image source unknown]