SENSITIVE CARTOGRAPHY: THE ARTIST-SCIENTIST HERCULES FLORENCE ON THE LANGSDORFF EXPEDITION (1825-1828)

• DOI: https://doi.org/10.22533/at.ed.2164192417093

• Palavras-chave: -

• Keywords: critical cartography; artistscientist; Langsdorff Expedition.

• Abstract:

  Hercule Florence, in Voyage fluvial du Tietê à l’Amazone par les provinces brésiliennes de Saint-Paul, Mato Grosso et Grão Pará (1875), traveled, between 1825 and 1828, the provinces of São Paulo, Mato Grosso and Grão-Pará, as part of the Expedition of Baron Georg Heinrich von Langsdorff. Regarding Hercule Florence’s creative trajectory, one can initially conjecture whether this photographer is a supporter of a nomadic science - as opposed to a royal science - as one that bears singularities and meanings that constitute forms of content with pertinent traits. that reveal a matter of expression. Florence’s nomadic art is defined by a dynamic connection of support and ornament that replaces the matter-form dialectic (Deleuze & Guattari, 1997, p. 35-36). The text seeks to determine the artistic-spatial dimension of a nomadic territory built by this photographer’s movement, highlighting the points that determine remarkable paths in his adventurous life, through the consistency of a fluid set of imagery experiences that sought to inaugurate the Brazilian landscape through an ethnographic and environmental aspects. In this sense, the nomadic artist is seen as a vector of deterritorialization, as one who transforms the earth into a support or a smooth rhizomatic space, which tends to grow in all directions, aiming to define the limits of his sensitive, critical, and scientific cartography. with photographic bases (id, ibidem, p. 53-54). Hercule Florence: A scientist-photographer or an artistic photographer?