{"id":74,"date":"2025-02-08T08:39:17","date_gmt":"2025-02-08T07:39:17","guid":{"rendered":"https:\/\/loc.ssq\/?page_id=74"},"modified":"2026-10-06T09:39:28","modified_gmt":"2026-10-06T07:39:28","slug":"manifesto","status":"publish","type":"page","link":"https:\/\/www.studisulqui.it\/eng\/manifesto\/","title":{"rendered":"Manifesto"},"content":{"rendered":"

Studi sul Qui is a project conceived by Daniele Ietri and Eleonora Mastropietro and developed through various initiatives since 2017. The work is inspired by the concept of deep mapping: an in-depth mapping of territories, carried out through artistic and scientific practices and centered on fieldwork. As the first project in Italy to extensively apply the deep mapping method, Studi sul Qui aims to tell the story of the present in territories overlooked by mainstream narratives.\n\nThe project involves organizing working groups engaged in deep mapping of specific territories, which vary for each edition (season) of the project. Working both independently and in groups, participants observe the territory and engage with the local population to construct a composite and layered narrative of the present-day reality of communities and territories.\nEach season involves fieldwork and an immediate presentation to the community, in which the impressions, data, and stories gathered during the work\u2014along with their initial reinterpretations\u2014are presented in various forms.\nSubsequently, the working materials take on multiple forms, open to experimentation: they become, for example, books, documentaries, photographic projects, musical projects, etc., depending on the sensibilities of those who participated in the initiatives.<\/p>\n\n\n

DEEP MAPPING AS A PRACTICE\r\n\r\n<\/strong>Studi sul Qui creates in-depth maps that incorporate the tools of research scientifica<\/em>, artistic professions and practices intertwine and influence one another. A key reference that inspires us is Clifford McLucas\u2019s Manifesto for Deep Mapping.<\/p>\n\n\n

01<\/strong>\r\nDeep maps must be LARGE \u2014\nissues of resolution and detail are solved thanks to their size;\r\n\r\n02<\/strong>\r\nLe deep map devono essere LENTE \u2013\r\nsi muovono naturalmente alla velocit\u00e0 imposta dalla forma del terreno o dal tempo meteorologico;\r\n\r\n03<\/strong>\r\nDeep maps must be SUMPTUOUS \u2014\nthey embrace a range of diverse media and registers in a sophisticated, multilayered orchestration;\r\n\r\n04<\/strong>\r\nDeep maps can only be achieved through the combination of multiple media \u2014 they are genuinely multimedia, not for aesthetic effect, but out of practical necessity;\r\n\r\n05<\/strong>\r\nDeep maps have at least three basic elements: a graphic component (large, horizontal or vertical), a time-based media component (film, video, performance), and a database or archival system that remains open and unfinished;\r\n\r\n06<\/strong>\r\nDeep maps require the engagement of both the insider and the outsider;\r\n\r\n07<\/strong>\r\nDeep maps involve both the professional and the amateur, the artist and the scientist, the official and the non-official, the national and the local;\r\n\r\n08<\/strong>\r\nDeep maps are likely possible and imaginable only now \u2014 digital processes at the core of many modern media practices allow, for the first time, the straightforward combination of different materials in a new creative space;\r\n\r\n09<\/strong>\r\nDeep maps do not seek the authorial authority or objectivity of traditional cartography. Instead, they are politicized, passionate, and partisan. They involve negotiation and debate over who and what should be represented and how. They give rise to discussions about the documentation and representation of places and people;\r\n\r\n10<\/strong>\r\nDeep maps are unstable, fragile, and temporary. They are a conversation, not a statement.<\/p>\n\n\n\n

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The application of deep mapping concepts in Studi sul Qui primarily concerns three dimensions.\nThe first is the horizontality among tools and participants, particularly regarding the permeability between the experiences of those involved and between different professional backgrounds.\nThe second dimension concerns the content of the map, which allows for a multiplicity of different media: it goes beyond the idea of mere cartographic representation and opens up the possibility for diverse forms of expression, as long as they serve the narrative of a place.\nThe third dimension concerns time: recognizing that this is an unstable, open, and \u201cunfinished\u201d work places the emphasis on the quality of field presence by participants, privileging the intensity of engagement over the mere quantity of time.\n\nIn the Studi sul Qui project, the attitude of the participants is central: openness to debate and conversation, willingness to use unconventional methodologies, mastery of one\u2019s own methods to the point of being able to set them aside, and the ability to abandon the role of \u201cexpert\u201d in order to immerse oneself in a direct\u2014even instinctive\u2014relationship with the territory.<\/p>\n\n\n\n

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WHERE WE WORK<\/strong>\r\n\r\n\r\n<\/strong>The project is designed for places that are underrepresented or depicted in a \u201cflat\u201d way. The territories we consider most at risk in this sense are those in a weak position relative to the economic and decision-making \u201ccenters.\u201d They are \u201cperipheries\u201d not always because of their geographical location: they can also be territories relatively close to economic centers, or well-connected by infrastructure, yet perceived or represented as distant in space and time. These territories are often described using negative adjectives: \u201cinterior,\u201d \u201cperipheral,\u201d \u201cminor,\u201d \u201cmarginal,\u201d \u201cfragile,\u201d \u201cremote from the world,\u201d and so on. The deep maps of Studi sul Qui oppose this kind of negative representation, because for the many people who live there, these places are the center.<\/p>\n\n\n\n

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WHERE WE WANT TO GO<\/strong>\r\n\r\n\r\n<\/strong>Studi sul Qui e\u0300, per sua stessa natura, un processo aperto, precario e disposto a prendere percorsi e arrivare a esiti inattesi. Alla luce delle 6 stagioni fin qui realizzate, possiamo formulare alcune affermazioni che ci potranno accompagnare (o potranno essere smentite) nelle edizioni future:\r\n\r\n_gli Studi sul Qui provano a mettere in discussione come pensiamo al territorio e come lo rappresentiamo: stiamo mettendo in dubbio la cartografia di base sulla quale si costruiscono le rappresentazioni; sono in rapporto dialettico con le altre rappresentazioni e sono aperti a interpretazioni anche fortemente contraddittorie;\r\n\r\n_gli Studi sul Qui possono esistere solo se vi e\u0300 una collaborazione e se si mettono in discussione i concetti acquisiti di autorialita\u0300 e non ci si spaventa di fronte alle possibilita\u0300 plurali, di piu\u0300 voci, di piu\u0300 centri di produzione della conoscenza;\r\n\r\n_gli Studi sul Qui sono pubblici, interattivi, non pensati per un\u2019audience settoriale che deve aver preacquisito conoscenze e terminologie disciplinari;\r\n\r\n_gli Studi sul Qui cercano, infine, di abbracciare un linguaggio estetico: immagine, narrazione, rappresentazione; l\u2019elemento artistico o creativo non e\u0300 un supporto o un simpatico diversivo, ma e\u0300 parte integrante dello strumento (a volte e\u0300 esso stesso lo strumento), con la sua grammatica, il suo codice e le fragilita\u0300 che gli sono proprie.<\/p>\n\n\n\n\n\n

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