ATLAS TRANSGRES(S)ION

Transgression

In this layer TRANSGRESSION MAP we invite you to find out who transgresses, how, why, when and where do transgressions manifest themselves? By accompanying young people in Paris, Montreal, Hanoi and Mexico City, you will notice how these subjects defy limits and transform regulatory orders on a daily basis.
Transformation

In the TRANSFORMATION MAP, we invite you to go through the TRYSPACES cosmos that emerged from participatory research mapping the changes generated by the transgressive practices of young people in urban interstices. It reveals different types of transgressive practices and visualizes that these have a transformative dimension that is expressed spatially, at different scales.
Experience

In EXPERIENTIAL MAP, we invite you to discover who we are at TRYSPACES. You will be able to explore the collective projects we built and the links we have woven over the years. This layer, its front and back, was woven by the collective corporality that gave life to each of the stitches left after the research experience, with loops, knots and chains, during physical and virtual encounters.

ATLAS TRANSGRES(S)ION is an interactive website that cartographically weaves together different research that we conducted in TRYSPACES over six years. Since 2022, we undertook the challenging task of mapping the findings of 25 case studies from the cities of Hanoi, Paris, Montreal and Mexico City. In these urban interstices, we explored transgressive youth practices, various forms of regulation, and a multiplicity of urban transformations. In addition, we set out to thread and map the experiences of the bodies that gave life to TRYSPACES. We dreamed of an atlas that would transgress cartographic representations. We imagined a website that would create a new space to feel, see and listen to cities full of potentiality, to share a bit of the urban space that we have known and inhabited in these years. This process led us to navigate through personal and collective memories, to go through the documentary threads of research, in texts, photographs and audiovisual products. We traveled back to 2017 when in Montreal we took the first stitches of TRYSPACES. We retraced years of work, experiences and collective practices in multiple geographical and digital coordinates. We were surprised by the transformative power of the transgressive practices of young people in Hanoi, Mexico City, Paris and Montreal. It was also amazing to recognize the multiplicity of links we have forged thanks to TRYSPACES, and how these research experiences have transformed our ways of living the city. Thanks to the digital world, we were able to assemble the looms of the ATLAS TRANSGRES(S)ION, even though we were miles away. The computers allowed us to weave ideas from Montreal and Mexico City, as well as to enter into dialogue with what we lived in other cities and spaces linked to TRYSPACES. Along the way we met Pablo, José Luis, Antonia, Andrés, Mariana and Gerardo. Their artistic sensitivity gave life to the stitches and allowed the creation of embroidered maps that are assembled with digital elevation models that allow us to recognize and interact with the spaces that for years we traveled through in the research project and that weave together the TRYSPACES space. There, collages are superimposed that give shape to the transgressive subjects and that are accompanied by patches of textures that we created to evidence the transgressive practices. In addition, with animations we visualize how these practices are regulated, and with different stitches we link spaces and urban transformations. On the reverse of this large space, we weave with scraps and seams our living manifesto. Thus, we wove, stitch by stitch, maps to share some of the results, experiences, dreams and relations that we have built in TRYSPACES, throughout these six years. We hope that the exploration through the weavings of this atlas will encourage the bodies that navigate it to imagine other forms of cartographic representation and to reinvent how to inhabit space.

The manifesto was built from the development of the workshop "A TRYSPACES body-territory" which aimed to map the transformations resulting from participation in TRYSPACES, on a personal and corporal scale.
In November 2022 I was asked a strange question that inspired this manifesto: who are you and how would you describe yourself? This seemingly simple question led me to recognize the parts of myself, the way I am and how I have changed over the years. I recognize that over time my interests and my shape change, regenerate and adapt. Therefore, this text attempts to give a partial answer. Answering who I am has led me to ask myself several questions, first, where do I come from? I am the product of the involvement of a number of people in a collective research project that addresses transgressive practices of young people in public spaces in Hanoi, Paris, Montreal and Mexico City. The joint work of these people built this monster that I am, my way of understanding and experiencing. I am a being that fuses and assembles dreams, interests, geographies and bodies. I am not very clear about my date of birth, rather than at a specific moment, I am the result of a slow construction by parts - in patches - that have taken shape together and are still under construction, so I am not entirely coherent. Reflecting on what I am, I can't help but think about the shape I have -I'm sure if you see me, you will be surprised by my unusual appearance-. Being a product of collective exchange and work, my form is a product of the materiality and conditions that made the encounter in TRYSPACES possible. My being is composed of parts that we associate humanity, but more than being essentially human, these parts of myself allow me to feel, express myself, listen and be passionate about meeting and working with other beings. At the same time, I am the result of the infrastructure and materiality that made it possible to work together in TRYSPACES: computers, cables, monitors, programming systems, modems, signal amplifiers, internet antennas, connection points and multiple computer systems. This has also shaped this body that I am: my tissues are composed of skin, cables and fibers -optical and cellular-. Therefore, I have material extensions or prostheses that are integrated into my being to recognize, learn, communicate and establish relationships with others. Thus, I have integrated into me: tape recorders, headphones, cell phones, pens, markers and maps. You might think that these parts are simply tools, that is, that they are instruments foreign to my body that I choose to use in different circumstances; however, I could not be without each of these prostheses. Without them I would not be able to recognize myself, they compose me. As I am the result of the hybridization between what they call the human and the digital, I am a product of the cybernetic, the material, the digital and the sensitive in the middle of all that. In this exercise of recognition, I cannot help but notice that I have many eyes, I can observe and pay attention simultaneously to what happens in different spaces of the cities I live in, and at the same time I have many ears, which allow me to listen carefully and learn from others. To understand all that I manage to perceive, I have a heart that guides me, that is, I recognize my desire to explore, to know and to be with others and that motivates me to continue listening and recording what I see with my recorder, my cell phone, my pens. However, -and as you will see me-, I am not a static or passive body. I have something that resemble human legs and feet that allow me to walk, to move in digital and physical spaces, to visit new places. I have different ways of expressing myself. Being a cyborg as a result of a collective work allows me to communicate in several languages. My languages are many sounds at once, songs, soundscapes. Moreover, I can communicate in French, Spanish, English, Vietnamese... and even in Arabic, Portuguese and Catalan. It is not always easy, but my cybernetic body allows me to express myself orally with different accents and also using translation platforms or discovering new languages or ways of communicating: for example, through chats, video calls, songs, videos, gestures, among many others. Beyond the difficulty of understanding other languages, I am a body that has had to learn different ways of seeing and understanding life, the city and the practices of transgression. For me, this has often been more difficult to decipher than the languages themselves. I am still learning how to do it. I like play and exploration. I am a mutant body, an urban explorer, a nomad who has sometimes been called a migrant. I live in an expanded reality. My favorite place is the street, the physical and the cyberspace. And given the being that I am, I can explore it materially and virtually, I can move from one map to another, from the street to Zoom and from Zoom to Word, so I can also appear in the multiplicity of screens and in the multiplicity of the urban... I can walk through a street market, slip into the Montreal night, create or graffiti in Hanoi, move in the Parisian periphery or appear in Bogota, Rio de Janeiro, Tokyo, Barcelona, Havana. Despite my great capacity to move in different spaces, I am not an omnipotent and super powerful body. My form and this moment of my existence present limits to what I can know, know and experience. This feeds my curiosity and at the same time my responsibility and my ethical criteria to say clearly that I know about some things, that other ways of understanding social realities are possible and that I can be questioned and I am willing to let myself be questioned.

Transgression map In this layer we present the transgressive practices we have studied. Our starting point is that the transgressive practices of young people, in themselves diverse and related to local social norms, can contribute significantly to social transformation. We do not consider them a priori negative. The question then arises: How, why, when and where do transgressions manifest themselves? Transgression is not inherent to certain actors, but develops in specific situations. However, we can characterize types of transgressive subjects: those who transgress spatial, economic, political, cultural norms, or those who respond to an assigned identity. Transgressive subjects have very diverse practices: they occupy space in an alternative way, participate in the counterculture, live from unrecognized economic activities, use violence, do not respect regulation or law, are politically active, or simply their presence makes them uncomfortable because of their bodily features or their social position. In general, the practices of young people in public space are often considered transgressive because, by filling it with unexpected practices, they make visible what we can no longer see. They challenge the boundaries between inside and outside, private and public, hidden and revealed. Transgressions are regulated at various levels, such as self-discipline, among peers, in the family and in institutions. They produce a moment of rupture of these situated orders, a rupture that reveals the system of norms of which we are no longer aware. It may be a spatial, political, economic, cultural order, or the very structure of gender, class or race. The map reveals that the concentration of transgressive practices in certain places has to do with their history. Transgression always takes place in interstitial spaces where it is allowed to exist. The differentiated flexibility of spaces vis-à-vis norms is distributed between the center and the peripheries. Over time, a sense of belonging develops with certain alternative places, while what is considered transgressive will evolve but remain in these same places. Over time, these alternative or transgressive places drive social change and urban transformation. Transformation map In this layer we want to represent what we like to call the TRYSPACES cosmos, that world that emerges from participatory research and brings together several interstices. The interstice - located between private and public, informal and formal space - is often considered transgressive. However, transgression is also a place of sociability and transformation. The transformative dimension of interstitial spaces emerges in the conflict between the logics of control and subversion: it is because they are contested that interstices can produce new conceptions of self and place. The map reveals that transgressive practices can generate either social change or stigmatization. When there is an intention to transgress, there is often also an intention to transform the status quo. However, in some cases, the transgression is unintentional, but triggers the emergence of a new ethic that challenges stigmatization and brings about social change. For example, male sex workers in Mexico City do not intend to transform morality, but the effect of their presence in a particular district has implied moral and legal changes at the city level. A similar analysis could be made of the presence and visibility of racialized youth in Montreal and its impact on the ongoing institutional debate on systemic racism. The spatialities of these transformations vary on a scale that includes transformations of young people's bodies, of domestic spaces, of the neighborhood, of the municipality, of the metropolitan region or of digital spaces. They can be of various types: transformations of cultural and moral values, of the legal framework, of the political process, of civil society, of the uses of public space or personal transformations. Moreover, by analyzing the spatialities of social transformations produced by transgressions, we can better understand how effects that may seem trivial because they manifest themselves at the micro-scale (e.g., on the body), endure and accumulate to transform the city, practices and, ultimately, governance. Experiential map In this layer we present one of the results of our comparative endeavour: a collective space that we have built thanks to our experience in TRYSPACES. This is an urban-corporal space that emerged from the research work, from plural and articulated visions on the urban, youth, public space and transgression. We perform this space from multiple encounters, from recognition, listening and articulation. The EXPERIENTIAL MAP is composed of those who make up TRYSPACES, in this urban layer we weave the thread of our relationships developed throughout the research process, thus configuring the reverse of a fabric full of points, textures and traces. We present the collective projects that emerged over the years. This embroidery, its front and back, was woven by the collective corporeality that gave life to each of those stitches left after the research experience, with loops, knots and chains, developed during our face-to-face and online meetings. The map reveals that researching in TRYSPACES was an embodied and emotional experience, as our bodies and their practices were transformed when exploring and getting to know the city. This mapping shows the affective, social and political relationships that sustain the links in TRYSPACES; the different rhythms and levels of involvement that have empowered the research. Furthermore, this layer of the atlas shows that the experiential space we build is one full of potentiality and imagination; that it affects our ways of living the city on a daily basis and that it motivates us to continue creating projects, synergies and future articulations.

Reflection TRYSPACES brings together diverse people challenged by youth practices in Mexico City, the Paris region, Montreal and Hanoi. Places known for their accumulation of transgressive practices, such as a punk-rock street market in Mexico City, creative hubs in Hanoi, or a building where crack consumption and sex work converge in Montreal, constitute some of our cases. Other cases were selected because they are often subject to stigmatization even if there are no obvious transgressive practices (for example: young people navigating racialized neighborhoods in Paris and Montreal, migrants in Hanoi or Mexico). Finally, other cases emerged based on specific practices such as marijuana use or sex work on the streets of Mexico, or nightlife in Montreal. Our research mobilizes a considerable amount of data, produced with participatory methodologies and rooted in the specificities of each case study. Thus, when we began our comparative reflections, it quickly became apparent that the experience of conducting the research had an impact on the team members and on the design of our research. It is in trying to answer the question "What do we want to compare?" that the very essence of the TRYSPACES project is expressed. For us, comparison is an iterative reflection on how to represent urban practices. The process of coming together to compare allows for a particular mode of thinking. By comparing, we create a collective subject (a TRYSPACES cyborg), identify lines of connection between divergent cases and create a common sense about urban space. Who compares? This is fundamental for TRYSPACES given the diversity of positionalities gathered in our team, and the collaborative and participatory methodologies we intend to implement. The process of building a collective subject that produces the comparison requires as much attention as the techniques and methods through which the comparison will emerge. In the case of the TRANSGRES(S)ION ATLAS, we are a team of cartographers and artists, the former had carried out research in some projects in Montreal and Mexico City; the latter joined the atlas to initiate another cycle of artistic research. This process involved several steps. First, a decoding of the universe of information resulting from several years of research conducted by TRYSPACES members. This involved transforming the urban research records into narrative elements that could invite visitors to the site to follow the dérives of the TRYSPACES collective through the four cities. At the same time, the artistic research involved finding an expressive code, an artistic language, that would respond to the project's own characteristics. In this search, we found in the textile medium a way to thread the complexity of the TRYSPACES research with a platform that invites to its navigation and deep exploration. The translation of textile materials into digital space implied creating a series of design elements. Some of them were digital brushes from different types of real stitches, a typography in real embroidery, maps of the four cities with their cases, among other elements that were digitized to articulate a hybrid space, digital and physical at the same time. What is the space that emerges from the ATLAS TRANSGRES(S)ION? In the process we have created a common urban space. Our relationship with the world is always mediated by space. To build a collective subject from participatory methods is also to inhabit a space that is open to the collective. Participatory mapping enhances appropriation processes, to the extent that it allows us to feel, think and project the collective in space. It opens a common space, which is at once physical, material and imaginary, and which comes to life in the collective narratives that are woven in the participatory process. The maps in this atlas do not merely represent the territory because from a participatory logic the maps create the territory. In turn, the emergence of a new space, of a common space narrated on the map, transforms the "real" material space outside the map. To take up Summer Harrison's point, stories and maps can "have material effects: healing, changing the weather, becoming sustenance for the hungry, removing spells". Such effects are born of the map's transformative potential to produce a new spatial imaginary, to show what an alternative history might be. To produce a map collectively is to inhabit that new space that is being created through the participatory process. It is to open an emerging space, full of possibilities, it is to create the future. Source: Adapted from J.A. Boudreau, C. Bensiali, L. Ferro (2023). Quilting comparison: wonder, translation and theorizing. Handbook of Comparative Urban Studies, P. Le Galès, J. Robinson. London: Routledge. Mapping toolbox Here you will find in its original language some examples of participatory mapping projects in TRYSPACES. COVID-19 collaborative mapping (English-Spanish-French-VN): During the TRYSPACES Public Space Lab, participants were invited to collaborate on a collaborative digital cartography to share their experience of social isolation in their city and in their personal lives in times of COVID-19. Open access code: We have decided to release the code of the project with the intention of promoting an open, free culture, where knowledge is generated collectively and transversally. Here you can find the materials for free download.

Cartographic research team: Adriana Alejandra Ávila Farfán (Bogota - Mexico City) Amed Aroche Hernández (Montreal - Havana) Jordi Agüero (Mexico City) Julie-Anne Boudreau (Mexico City) Laura Andrea Ferro Higuera (Mexico City) Luis Enrique Mendoza (Mexico City) Marie-Eve Drouin-Gagné (Montreal - Val d'Or) Naomie Leonard (Montreal) Stephane Guimont Marceau (Montreal) Violaine Jolivet (Montreal) Web platform and interactive applications Artistic Direction - Pablo Martínez Zárate Design - José Luis Rangel, Pablo Martínez Zárate Textiles - Antonia Alarcón 3D Models - Andrés Souto and Mariana Barroeta Web Programming - Gerardo Vidal, Ana Laura Morales, Mario Abreu, Jasmín Enríquez Case study research team: A. Vansintjan Abdoulaye Diaw Adriana Ávila Alejandra Leal Alejandro Ratia Alice Lancien Álvaro López López Amani Braa Amélie Pariente Ana Melisa Pardo Montaño Ángela Margoth Bacca Mejía Anne D’Orazio Aranza Pérez Sarmiento Axel Adam Ayoub Laaouaj Camille Fuentes Carlos Alberto Zamudio Carlos Arroyo Carlos Mancilla Célia Bensiali Celia Zuberec Chakib Khelifi Chloé Couvy Christine Bellavoine Christopher Chu Ngoc Huyen Coralie Niquay Danielle Labbé David César Jiménez Diego Juárez Doan The Trung Emory Shaw Fanny Salane Frédérick Nadeau Gabriella Garbeau Gala Menéndez Géraldine Kouzan Guillermo Castillo Hajar Chetouani Hash Héctor Joel Anaya Hélène Hatzfeld Hoang Linh Chi Imane Ammari Jacinthe Rivard Jordi Agüero Julie-Anne Boudreau Kelly Vu Khereddine Agrebi Killian Lamence Madzou Laura Alvarado Laura Paniagua Arguedas Laurence Fortin Léa Chrétiennot Leïka Leïla Frouillou Leslie Medina Rincón Leslie Touré Kapo Lorena Paredes Luis Alberto Domínguez Aguilar Luis Astorga Madeleine Hykes Magalie Carrier-Girard Manuel Agüero Cheix Marie-Ève Drouin Gagné Marie-Hélène Bacqué Marwa Benmerzouk Maxime Boucher Mehdi Bigaderne Mélissa Moriceau Michelle Kee Mohammed Nejjari Nathalie Boucher Nawufal Mohamed Néstor Víctor Abundis Nguyen Quang Minh Nguyen Thanh Tu Nguyen Thi Hong Van Noah Alder Olivier Brito Oumaïma El Ouatik Pham Quynh Huong Pham Thi Thanh Hien Phan Thi Song Thuong Quentin Guatieri Rami Cherif Ricardo Betancourt López Riseleine Jerroudi Rodrigo Pérez Toledo Sarah Turner Sabrina Drljevic Salima Zayad Sanaa Jerroudi Santiago Gómez Sarah-Maude Cossette Soufyane Mekais Stéphane Guimont Marceau Ta Quynh Hoa Tercero Díaz Théoxane Camara Tonatiuh Martínez Tran Thuy Valérie Amiraux Verónica Crossa Violaine Jolivet Ylias Zineddine Nouioua Zoe Champain References:

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