Cartography as a Filmic Text: Drifting to Juxtapose the Immaterial Bodies and Affects

In this chapter, we will approach the idea of cartography as a filmic text from the interaction between feminist theories and critical visualities based on experimental cinema and video practices (Minh-ha, 1992; 1999; Sturken and Cartwright, 2009; Steyerl, 2012). Firstly, we go through the gestures of cartographing, as a mode of making visible our transitions and becomings (Deleuze, Pourparlers. Édition de Minuit, 1997–2003), as well as a mode of re-writing and re-reading the spaces of knowledge production (Rogoff, 2000; Empain and Rifà-Valls, 2018). Through understanding the cartography of the filmic entanglement of bodies as spacetimemattering, we conceptualize the filmic cartography as the act of drifting to juxtapose, of tracing the physical, desirable and imaginary transits to narrate the assemblages of the immaterial bodies and affects in motion. Furthermore, we wander to the filmic cartography in an attempt to narrate the entanglements of the immaterial bodies and affects (Barad, 2007; Blackman, 2012; Grosz, 2017), while travelling to the filmic research projects created with students. Specifically, we will narrate two cartographic experiences that we have developed in the master’s degree in Research in Education (MURE, UAB) based on feminist onto-epistemologies and visual research methods. On one hand, we will share a collective feminist filmic piece entitled “Cartography of affects and bodies for researching in education” that we have produced after working in our own personal trajectories, maps and drifts. On the other hand, we will explain the project “Videographic narratives: Juxtaposing voices, spaces and bodies” with the aim of reflecting on the series of pieces produced by the students and the personal experiences entangled with other voices, spaces and times.