Tarkovsky. Here, the «Ocean,» a sea-like substance on the unknown planet Solaris, reflects human emotions, desires, and thoughts. And the media art work by Lisa Jevbratt performs Info-Aesthetics, the spatialization of data flows in the Internet. Today's revival of mapping means «real time dynamization of data structures including the ability to reorganize information in relation to the user's choice and interest» [19] —the quality of information through algorithmic calculations, mapping movements, not local places (time-slicing by video-recording). This leads to the interactive map, the temporal configuration, the individualization of maps (which is somewhat reminiscent of the Situationist «psycho-geography»).

On a panel called «Mapping the World» as part of the media arts festival Transmediale 03 in Berlin (February 2003), Dietmar Offenhuber explained the permanent decision between representation (iconic links to the real world) and diagrams (which is truly computer aesthetics, numerical abstraction instead of reiterating previous media like maps) for works of data visualization (mapping). Offenhuber's work «Wegzeit» LI displays the geometry of relative distance, an

asymmetric, non-Euclidean geometry, ambiguities in time/space distances; this represents relative spatiotemporal dynamics itself (time-critical performances), e.g. phases of traffic within the switching of traffic lights in cities. Man himself is a moving point ruled by laws and rules in traffic/a discourse/a network stronger than himself (Foucault). Svetlana Alpers, writing on «the mapping impulse in Dutch Art,» demonstrates that in Vermeer´s «Art of Painting,» in which a map of the Netherlands figures in the background, this map becomes less rhetorical, more «descriptive»—a function of geometrical instruments in mapping. [20] In representing imperial spaces, mapping has always been symbolically driven—until mathematics took over. [21] The 1546 edition of «Cosmographia» by Petrus Apianus contained examples of map design that show how very close by that time European cartography had come to achieving statistical graphicacy. But there was not yet a quantitative abstraction of placing a measured quantity on the map's surface at the intersection of the two threads instead of the name of a city [22] ; there is a long tradition of cultural resistance of the imaginary as