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Numerous rallies, gatherings and occupations in public squares of big cities have been emerging since 2010 all around the world as a new guideline to new social movements. These recent movements embrace a transformation in public spaces through interaction, shared experience and art so that a collective energy is generated within a given context and time. They therefore propose an alternative acting and living together in the light of the equality of all individuals involved. The recreation of this new active citizenship, both individually and collectively, is also highly connected with the appropriation of a performative repertoire of action within everyday life. This paper focuses on the active, yet unorganized participation of Turkish citizens to the protestation and/or performance of the Standing Man all over Turkey. Standing still and silent offers thus a performative action, which has become collective through social networks. This unpredicted act has been a pioneer in terms of the transformation of a singular creative intervention to a collective performative action.

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O artigo oferece uma análise sociológica de uma experiência performativa de mapeamento no movimento Occupy Wall Street (OWS) de Nova York em 2011. Ele delineia a transformação da declaração do OWS em uma "lista de grievances [demandas-sofrimentos-queixas]" graficamente representada pela artista Rachel Schragis por meio de um processo participativo no espaço ocupado do Parque Zuccotti. Baseando-se na passagem contínua entre as ideias, o espaço tridimensional vivido e a superfície plana bidimensional da cartografia gráfica, ela demonstra as maneiras pelas quais a cartografia coletiva-performativa incorporou e transcreveu a interconexão entre o percebido, o concebido e o(s) espaço-tempo(s) vivido(s) (Lefebvre 1974, Harvey 2006) no interior do espaço ocupado do OWS.

This paper offers a sociological analysis of a performative experience of mapping in New York's Occupy Wall Street (OWS) movement in 2011. It delineates the transformation of the declaration of the OWS into a graphically rendered "list of grievances" by the artist Rachel Schragis through a participatory process in the occupied space of Zuccotti Park. Drawing on the continuous transition between the ideas, the three-dimensional lived space, and the two-dimensional flat surface of graphical cartography, it demonstrates the ways in which the collective-performative map-making embodied and transcribed the interconnection between the perceived, conceived, and lived space-time(s) (Lefebvre 1974, Harvey 2006) within the occupied space of the OWS.