EINSTELLUNGSRAUM e. V. Marnie Moldenhauer: Peripherie oder jenseits der Grenze beginnt die Fremde

In addition the flags were turned in a way so that the visible inclusions of plants and animals drew attention.

I am looking into these connections at this point due to Moldenhauer drawing attention to the arrangement of the flags and their surface with her representations even though or just because of her account interpreting the specifications idiosyncratically with changed colors. By emphasizing technical aspects that the artist had already adopted with the mosaic Restholzarbeit (scrap wood piece) she draws attention to the abstractness of traditional craftsmen technique which have spawned own semantic worlds. This basic position shows that by a preconceptual course of action craftswork has anticipated today's perceptions and possibly coined it more that we are aware of; because it cannot be ruled out that metaphors from today - like networking - have found large vibrancy based on previously existing habits of seeing and - like here - thoseIn this case we are dealing with a prototype of the net metaphor that coming from building and architecture has - because of its enduring visibility - with certainty more effectively coined our perception than for example circuit diagrams of the electronic industry that has not been seen as often. As shown here architecture, craftsman- ship, painting, installation and imagery could be viewed as a semantic system where interactions are created, received and relayed.

III Hybride symbols of cartography
The proposition of the exhibition's long title "Periph or beyond the border outland begins" should not go unnoticed. For this it is necessary to first think about the chromaticity and the scale that locates the presented.

The chromaticity becomes the decisive characteristic to understand this painting that - in addition to the pictorial base nettle cloth - is defined by a palette that takes from cartography. When I discussed (the German word 'eroertern' - to discuss - literally refers to its etymological source: 'Ort' = a place and 'eroertern' = to look for a place), the invitation card for the exhibition with a conversational

In addition the flags were turned in a way so that the visible inclusions of plants and animals drew attention. I am looking into these connections at this point due to Moldenhauer drawing attention to the arrangement of the flags and their surface with her representations even though or just because of her account interpreting the specifications idiosyncratically with changed colors. By emphasizing technical aspects that the artist had already adopted with the mosaic Restholzarbeit (scrap wood piece) she draws attention to the abstractness of traditional craftsmen technique which have spawned own semantic worlds. This basic position shows that by a preconceptual course of action craftswork has anticipated today's perceptions and possibly coined it more that we are aware of; because it cannot be ruled out that metaphors from today - like networking - have found large vibrancy based on previously existing habits of seeing and - like here - thoseIn this case we are dealing with a prototype of the net metaphor that coming from building and architecture has - because of its enduring visibility - with certainty more effectively coined our perception than for example circuit diagrams of the electronic industry that has not been seen as often. As shown here architecture, craftsman- ship, painting, installation and imagery could be viewed as a semantic system where interactions are created, received and relayed. III Hybride symbols of cartography The proposition of the exhibition's long title "Periph or beyond the border outland begins" should not go unnoticed. For this it is necessary to first think about the chromaticity and the scale that locates the presented. The chromaticity becomes the decisive characteristic to understand this painting that - in addition to the pictorial base nettle cloth - is defined by a palette that takes from cartography. When I discussed (the German word 'eroertern' - to discuss - literally refers to its etymological source: 'Ort' = a place and 'eroertern' = to look for a place), the invitation card for the exhibition with a conversational	partner he commented to recognize on it yard lots and allotments bordered by paths. This conversation made it obvious to me that the reading of these surfaces is a question of the applied proportionateness. The works can be read as 1:1 impressions of the flags as well as interpreted as model yards that are possibly 1000 times scaled down and eventually regarded as details from an area in a 1:100.000 or larger gauge so that we believe to see in front of us one time gardens and parks, also mountains, plains, river valleys, lakes or hilly landscapes that are desert sometimes, sometimes luscious green or stepped brown; all in analogy to coding of vegetation and heights by colour shades from yellow to green, to brown and white asa well as blue. To give an image: it would be like having had concentrated islands and lumped together their perimeters to a rag rug so that they'd be surrounded by a net of waterways rather than by the sea. They get so close together like it is possible for us to view them with the help of maps and especially satellite images without being able to state we'd know them. This mode of imaging presents a hybrid level that returns to a complex reality in various scales and was contrived for the purpose of its representation in maps and the-like. Not only vegetation, cities, area formations and agricultural use can be indicated with the given information but in addition also levels of political affiliation. Which levels are chosen and which factors are emphasized is variable, so that particular interests of users and contractors determine which codifications are used for a geographical map, how levels of colours, hatchings and symbols relate to reality in keeping with peoples' intentions. Even when generally unknown and strange aspects are left out the well-known can only be read if some conventions are taken care of: 1. First of all the scale has to be clear. Without it it is not understandable how much details are represented scaled-down in relation to reality. Only then can the colors and lines give information about dimensions of a city or character of a landscape 2. Various elevations, marks of vegetation or agricultural use, but also political separation of territories can be made evident by colours. 3. Depending on the map scale inserted symbols show noticeable buildings or trees. Here also
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