246 <strong>The</strong> experience <strong>of</strong> space and timePlate 3.4 <strong>The</strong> rational ordering <strong>of</strong> space in the renaissance maps <strong>of</strong> Englandplayed an important role in affirming the position <strong>of</strong> individuals in relationto territory: John Speed's map <strong>of</strong> the Isle <strong>of</strong> Wight, 1616.<strong>The</strong> connection with perspectivism lay in this: .that .in designigthe grid in which to locate places, Ptolemy had Ima llled h?f t elobe as a whole would look to a human eye looklllg .at It mutside. A number <strong>of</strong> implications then follow. <strong>The</strong> firs IS an abIh yto see the globe as a knowable totality. As Ptole y hImself Pft 'the goal '<strong>of</strong> chorography is to deal separately with a part o .t .ewhole ' whereas 'the task <strong>of</strong> geography is to survey the whole III ItS'ust'roportion.' Geography rather than chorography ecame a .kenafssance mission. A second implication is that mathemancal pnnciles could be applied, as in optics, to the whle problem f represetingthe globe on a flat surface. As a resul:, It seemed as If space!though infinite, was conquerable and contalllab .le fo : R urp ses .0human occupancy and action. It could be apropnated lll Im .aglllatonaccording to mathematical principles. Ad It was exacty .III suc acontext that the revolution in natural phIlosophy, .so bnlhan ly describedby Koyre (1957), which went from CopernIcus to Gahleo andultimately to Newton, was to occur.. 'Perspectivisg! had reverberations in all aspects <strong>of</strong> socIal lIfe an IIId .Time and space <strong>of</strong> the Enlightenment project 247all fields <strong>of</strong> representation. In architecture, for example, it allowedthe replacement <strong>of</strong> Gothic structures 'spun from arcane geometricalformulae jealously guarded by the lodge' with a building conceived<strong>of</strong> and built 'on a unitary plan drawn to measure' (Kost<strong>of</strong>, 1985,405). This way <strong>of</strong> thinking could be extended to encompass thepla llning and construction <strong>of</strong> whole cities (like Ferrara) according toa similar unitary plan. Perspectivism could be elaborated upon ininnumerable ways, as, for example, in the baroque architecture <strong>of</strong> theseventeenth century which expressed 'a common fascination with theidea <strong>of</strong> the infinite, <strong>of</strong> movement and force, and the all-embracingbut expansive unity <strong>of</strong> things.' While still religious in ambition andintent, such architecture would have been 'unthinkable in the earlier,simpler days before projective geometry, calculus, precision clocks,and Newtonian optics' (Kost<strong>of</strong>, 1985, 523). Baroque architecture andBach fugues are both expressive <strong>of</strong> those concepts <strong>of</strong> infinite spaceand time which post-Renaissance science elaborated upon with suchzeal. <strong>The</strong> extraordinary strength <strong>of</strong> spatial and temporal imagery inthe English literature <strong>of</strong> the Renaissance likewise testifies to theimpact <strong>of</strong> this new sense <strong>of</strong> space and time on literary modes <strong>of</strong>representation. <strong>The</strong> language <strong>of</strong> Shakespeare, or <strong>of</strong> poets like JohnDonne and Andrew Marvell, is rife with such imagery. It is intriguingto note, furthermore, how the image <strong>of</strong> the world as a theatre ('allthe world's a stage' played in a theatre called '<strong>The</strong> Globe') wasreciprocated in the titles commonly given to atlases and maps (suchas John Speed's <strong>The</strong>atre <strong>of</strong> the Empire <strong>of</strong> Great Britain and theFrench atlas, <strong>The</strong>atre franrais <strong>of</strong> 1594). <strong>The</strong> construction <strong>of</strong> landscapes(both rural and urban) according to principles <strong>of</strong> theatricaldesign soon followed suit.If spatial and temporal experiences are primary vehicles for thecoding and reproduction <strong>of</strong> social relations (as Bourdieu suggests),then a change in the way the former get represented will almostcertainly generate some kind <strong>of</strong> shift in the latter. This principlehelps explain the support that the Renaissance maps <strong>of</strong> Englandsupplied to individualism, nationalism, and parliamentary democracyat the expense <strong>of</strong> dynastic privilege (see plate 3.5). But, as Helgersonpoints out, maps could just as easily function 'in untroubled support<strong>of</strong> a strongly centralized monarchic regime,' though Philip II <strong>of</strong>Spain thought his maps sufficiently subversive to keep them underlock and key as a state secret. Colbert's plans for a rational spatialintegration <strong>of</strong> the French nation state (focused as much upon theenhancement <strong>of</strong> trade and commerce as upon administrative efficiency)are typical <strong>of</strong> the deployment <strong>of</strong> the 'cold rationality' <strong>of</strong> maps usedfor instrumental ends in support <strong>of</strong> centralized state power. It was,
Plate 3 5 Dynasty versus the map: the Ditchley Portrait <strong>of</strong> .Queen Elizabetempha;izing the power <strong>of</strong> dynasty over individual and natwn as representeby the Renaissance mapTime and space <strong>of</strong> the Enlightenment project 249after all, Colbert, in the age <strong>of</strong> French Absolutism, who encouragedthe French Academy <strong>of</strong> Sciences (set up in 1666) and the first <strong>of</strong> thegreat map-making family, Jean Dominique Cassini, to produce acoherent and well-ordered map <strong>of</strong> France.<strong>The</strong> Renaissance revolution in concepts <strong>of</strong> space and time laid theconceptual foundations in many respects for the Enlightenment project.What many now look upon as the first great surge <strong>of</strong> modernistthinking, took the domination <strong>of</strong> nature as a necessary condition <strong>of</strong>human emancipation. Since space is a 'fact' <strong>of</strong> nature, this meant thatthe conquest and rational ordering <strong>of</strong> space became an integral part<strong>of</strong> the modernizing project. <strong>The</strong> difference this time was that spaceand time had to be organized not to reflect the glory <strong>of</strong> God, but tocelebrate and facilitate the liberation <strong>of</strong> 'Man' as a free and activeindividual, endowed with consciousness and wilL It was in thisimage that a new landscape was to emerge. <strong>The</strong> twisting perspectivesand intense force fields constructed to the glory <strong>of</strong> God in baroquearchitecture had to give way to the rationalized structures <strong>of</strong> anarchitect like Boulee (whose project, see plate 3.6, for a cenotaphfor Isaac Newton is a visionary piece <strong>of</strong> modernism). <strong>The</strong>re is acontinuous thread <strong>of</strong> thought from Voltaire's concern with rationalcity planning through to Saint-Simon's vision <strong>of</strong> associated capitalsunifying the earth by way <strong>of</strong> vast investments in transport andcommunications, and Goethe's heroic invocation in Faust - 'let meopen spaces for many millions/ to dwell in, though not secure, yetactive and free' - and the ultimate realization <strong>of</strong> exactly such projectsas part and parcel <strong>of</strong> the capitalist modernization process in thenineteenth century. Enlightenment thinkers similarly looked to commandover the future through powers <strong>of</strong> scientific prediction, throughsocial engineering and rational planning, and the institutionalization<strong>of</strong> rational systems <strong>of</strong> social regulation and controL <strong>The</strong>y in effectappropriated and pushed Renaissance conceptions <strong>of</strong> space and timeto their limit in the search to construct a new, more democratic,healthier, and more affluent society. Accurate maps and chronometerswere essential tools within the Enlightenment vision <strong>of</strong> how theworld should be organized.Maps, stripped <strong>of</strong> all elements <strong>of</strong> fantasy and religious belief, aswell as <strong>of</strong> any sign <strong>of</strong> the experiences involved in their production,had become abstract and strictly functional systems for the factualordering <strong>of</strong> phenomena in space. <strong>The</strong> science <strong>of</strong> map projection, andtechniques <strong>of</strong> cadastral surveying, made them mathematically rigorousdepictions. <strong>The</strong>y defined property rights in land, territorial boundaries,domains <strong>of</strong> administration and social control, communicationroutes, etc. with increasing accuracy. <strong>The</strong>y also allowed the whole