Antarktikos #1 - Mapping Nature

Open Call

Over the Top
A Knight Out

Two millennia ago the ancient Greeks wrote about a large land mass on the southern end of the globe. Even though they had never seen it. The philosopher Aristoteles theorized that this Southern land had to exist in order for the spherical earth to maintain geophysical balance against the Northern lands. He named it ‘Antarktikos’ meaning: ‘the opposite of’ ‘Arktikos’. The word ‘Arktikos’ means ‘near the Bear’, referring to the ‘Great Bear’, a constellation in the Northern Celestial Hemisphere.

For centuries Antarctica was a hypothetical continent that appeared on maps as ‘Terra Australis Incognita, ‘Unknown Land of the South’, or ‘Nondum Cognita’, ‘not yet known’.

Cartographers like Jodocus Hondius, Abraham Ortelius and Petrus Plancius perpetuated this belief of a southern landmass by depicting it prominently, but drawn entirely from conjecture.

From 1772 to 1775, Captain James Cook had spent three years looking for this new unknown continent. He circumnavigated Antarctica, but never reached land.

The first confirmed landing on Antarctica was not until 1821, when John Davis, an English-born American sailor, sealer and explorer, step foot on Antarctica.

Today Antarctica is called the Best-Mapped Continent on Earth. The Reference Elevation Model of Antarctica (REMA) is a map of Antarctica using hundreds of thousands of satellite images. A supercomputer assembled the massive amounts of data and created REMA, an immensely detailed topographical map, with a file size over 150 terabytes.

There are maps that depict geographic features, or those that take measure of psychological terrain or are designed to represent the ‘sense of a place’, maps as way finding documents with routes and landmarks, maps that present historical exploration

Charts that give understanding in the Ice conditions, the Weather and the Seas and papers giving insight in data collections etc.

For the Open Call of this first issue of Antarktikos, we are looking for a wide scope of subjects or areas, this can be any kind of research, story, and visualization related to the ‘mapping’ of Antarctica. From Ice corse presenting the information of 20.000 years old trapped air bubbles, to the architectural drawing of research stations, to imaginary maps of Antarctica in the year 3000.

We believe in the power of bringing art and science together and also in the potential of getting new insights by compiling many ideas around one thema. For this we also welcome older researches and works of art. There is no expiration date.


A map is a visual representation of an ‘area’—a symbolic depiction highlighting relationships between elements of that space such as objects, regions, and themes.” From the New World encyclopedia.


The Glitter on the Snow

We had neither the need to get rid of any depression, nor that to increase our already infinite intoxication; ourselves and our love and the boundless beauty of the ever changing landscape, a permanent perfection travelling for its pleasure through inexhaustible possibilities!

Yet almost before the words were out of our mouths, a sly smile crept over Lou’s loveliness and kindled the same subtly secret delight in my heart.
She offered me a pinch of heroin with the air of communicating some exquisitely esoteric sacrament and I accepted it and measured her a similar dose on my own hand as if some dim delirious desire devoured us.

We took it not because we needed it; but because the act of consummation was, so to speak, an act of religion.

It was the very fact that it was not an act of necessity which made it an act of piety.

In the same way, I cannot say that the dose did us any particular good. It was at once a routine and a ritual.

It was a commemoration like the Protestant communion, and at the same time a consecration like the Catholic. It reminded us that we were heirs to the royal rapture in which we were afloat. But also it refreshed that rapture.

Short Commons

The Bubble Bursts

Lou and I, my love and I, my wife and I, we were not merely going there; we had always been there and should always be. For the name of the island, the name of the house, the name of Shelley, and the name of Lou and me, they were all one name—Love.

“The winged words with which my song would pierce
Into the heights of love’s rare universe
Are chains of lead about its flight of fire,
I pant, I sink, I tremble, I expire.”

I noticed, in fact, that our physical selves seemed to be acting as projections of our thought. We were both breathing rapidly and deeply. Our faces were flushed, suffused with the sunlight splendour of our bloods that beat time to the waltz of our love.
Waltz? No, it was something wilder than a waltz. The Mazurka, perhaps. No, there was something still more savage in our souls.

I thought of the furious fandango of the gypsies of Granada, of the fanatical frenzy of the religious Moorish rioters chopping at themselves with little sacred axe till the blood streams down their bodies, crazily crimson in the stabbing sunlight, and making little scabs of mire upon the torrid trampled sand.

I thought of the mcenads and Bacchus; I saw them through the vivid eyes of Euripides and Swinburne. And still unsatisfied, I craved for stranger symbols yet. I became a Witch-Doctor presiding over a cannibal feast, driving the yellow mob of murderers into a fiercer Comus-rout, as the maddening beat of the tom-tom and the sinister scream of the bull-roarer destroy every human quality in the worshippers and make them elemental energies; Valkyrie-vampires surging and shrieking on the summit of the storm.

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