This paper critically examines the intersections of Science, colonialism, and cartography in shaping perceptions of the ocean and its human-nature relationships. Drawing on Postcolonial Science and Technology Studies (PCSTS) and Decolonial Theory, it scrutinizes historical mapping practices, revealing how they perpetuated ontological hierarchies and controlled narratives of the ocean. Through archival research spanning from the Revolution to colonial exploration, the paper exposes how maps framed the ocean as a controllable entity, obscuring socio-cultural dimensions of biodiversity. Focusing on a case study in Northern Kwazulu-Natal, South Africa, the authors explore an Empatheatre mapping process, that challenges Western ontologies and promotes counter-hegemonic cartographic practices. Situating this within critical cartography and PCSTS literature, the paper reveals how colonial projects molded perceptions of oceanic space and influenced environmental governance. In the South African context, the ocean is haunted by a violent history of racial exclusion and ecological exploitation. Initiatives like Operation Phakisa’s Blue Economy plan underscore the tension between economic growth and ecological sustainability, leading to rapid coastal developments. Marine Spatial Planning (MSP) emerges as a tool to reconcile these interests, yet its implementation raises questions about inclusivity and community participation. Introducing the Empatheatre method, characterized by a ‘Call and Response’ approach, the paper invites local communities to co-create maps reflecting their concerns and relationships with the ocean. Through attentive listening and collaborative storytelling, Empatheatre challenges traditional consultation methods, prioritizing meaningful engagement and collective meaning-making. Mapping in this context is not merely a static representation but a dynamic process of collective thinking and relationality. By foregrounding the social, cultural, and ecological context, Empatheatre’s approach redefines the mapmaker-map relationship and empowers communities as active agents in shaping their narratives. The transformative potential of Empatheatre lies in its ability to shift power dynamics and foster empathy between diverse stakeholders. Through performative storytelling and visual representations, Empatheatre creates space for marginalized voices and alternative modes of knowledge transmission. In conclusion, this paper advocates for a decolonial approach to oceanic cartographies that acknowledges diverse ontologies and fosters inclusive governance structures.

中文翻译：

---

绘制连接，超越绘制控制的生活：南非 Empatheatre 的“绘制即表现”的经验教训


本文批判性地审视了科学、殖民主义和制图学在塑造海洋及其人与自然关系的认知方面的交叉点。它借鉴后殖民科学技术研究（PCSTS）和非殖民理论，仔细审视历史测绘实践，揭示它们如何延续本体论层次结构和控制海洋叙事。通过从革命到殖民探索的档案研究，本文揭示了地图如何将海洋视为一个可控实体，从而模糊了生物多样性的社会文化维度。作者重点关注南非夸祖鲁-纳塔尔省北部的案例研究，探索了移情绘图过程，该过程挑战了西方本体论并促进了反霸权制图实践。本文将其置于批判性制图学和 PCSTS 文献中，揭示了殖民项目如何塑造对海洋空间的认知并影响环境治理。在南非的背景下，海洋被种族排斥和生态剥削的暴力历史所困扰。 Phakisa行动的蓝色经济计划等举措凸显了经济增长与生态可持续性之间的紧张关系，导致了沿海地区的快速发展。海洋空间规划（MSP）作为协调这些利益的工具而出现，但其实施引发了有关包容性和社区参与的问题。该论文介绍了以“呼唤与响应”为特征的移情方法，邀请当地社区共同创建地图，反映他们对海洋的关注和关系。 通过专心倾听和协作讲故事，移情者挑战传统的咨询方法，优先考虑有意义的参与和集体意义的创造。在这种情况下，绘图不仅仅是静态的表示，而是集体思维和关系的动态过程。通过突出社会、文化和生态背景，Empatheatre 的方法重新定义了地图制作者与地图的关系，并使社区成为塑造其叙事的积极推动者。 Empatheatre 的变革潜力在于它能够改变权力动态并培养不同利益相关者之间的同理心。通过表演性的故事讲述和视觉表现，同理心为边缘化的声音和知识传播的替代模式创造了空间。总之，本文主张对海洋制图采取非殖民化方法，承认不同的本体论并培育包容性的治理结构。