[INTRO]
[BACKGROUND]
[ARTISTIC METHOD]
[LEVELS OF REFLECTION]
[STRUCTURE AND DESIGN]
[LINKS]

The artistic methods implemented for the production of images constitute a first level of theoretical reflection. How and under what conditions are these images created? Is an image made under dangerous and harsh conditions more valuable than material found in the library or on the net? Is better knowledge that which is produced at great risk? What does it mean to become an ”embedded artist” going to the trenches? What is the artistic practice that such video footage documents? What are the parallels to anthropological methods and are they useful in exploring a transnational project? What are the concise modalities of ethnographic authority here? Looking, digging, probing for hidden, secret, restricted knowledge, what do these cognitive methods have in common with the work of secret service agents or with crime scene processing?

Furthermore, the project reflects on the conceptual space created between a site, image and text. Both landscapes and images order the mind, they frame our mind and help us organize reality. Geography is used as a system for understanding the active structures of mental images in the perception of space the way it is framed and memorized. In these theoretical observations, video is thought of as a cognitive tool for extracting and evoking meaning while looking, reading, writing and speaking.

This art project is based on the assumption that knowledge is not stored and located in units to be retrieved but located in the connecting nodes, spreading across a network of interconnected units. This means that the cognitive activities focus on relationships between connections, a concept that confirms feminist geographers who theorize relational space. In the case of the pipeline, the nodes are located at intersecting sites such as the terminals, workers camp, headquarters, storage areas and harbors and also in the encounter with landowning farmers and fishermen affected by the project. New nodes are created with the appearance of the artist on the scene, connecting the found data with an entirely different network of knowledge and interpretation.

The geography of connection is not merely a representational space, the experience is a combination of information, organizational structure and navigational procedures.