Cartography

In the second half of the 16th century, Girolamo Righettino, a brilliant draughtsman and theologian (a member of the Order of the Canons Lateran), produced city views with ornamental frames characterised by their rich allegorical programme. The drawings earned him widespread fame and were handsomely rewarded. A recently discovered autograph manuscript by Righettino sheds precious light on his only surviving view-an elaborate plan of Turin (1583). This article offers an introductory portrait of a personality forgotten to history and presents new research that allows us to situate his unique output-at the intersection of art and science, theology and politics, topography and allegory-in the wider context of Counter-Reformation Italy, when the ambitions of absolutist rulers were stoked by the fear of Turkish advances in the Mediterranean.

La rappresentazione cartografica ha negli ultimi anni attratto attenzioni crescenti e diversificate che vanno inquadrate nel rinnovato interesse che le scienze sociali hanno rivolto alla spazialità e alla visualità. I geografi sono stati, ovviamente, tra i protagonisti di questa profonda operazione di revisione epistemologica. Nel ripensarne i fondamenti sono stati guidati, in particolare, dalla felice collocazione della carta all’incrocio strategico tra il piano della realtà geografica e quello dell’immaginario spaziale. L’articolo si interroga sul ruolo della carta geografica nel rapporto tra questi due piani, sulle forme di potere che essa subisce e su quelle che esercita. Lo fa a partire da una vicenda storica tratta dall’Italia fascista che non era mai emersa in precedenza: la rappresentazione dei confini dell’Etiopia, progressivamente eliminati dai prodotti cartografici ben prima della conquista italiana. Le categorie analitiche da cui muove la riflessione sono tratte dal pens...

Mapping is a technique used to record and represent information graphically. In the studios made for architecture and landscape architecture, mapping is usually conducted at the Inventory-making and Analysis stage. Data from the site is gathered and documented for further investigation. However, mapping can also become a creative tool to ‘reveal’ certain things or invisible processes. It can encourage the designers to speculate the site and the design from different perspectives and at multiple scales. This paper discusses some mapping projects that have been explored by the authors through their research projects. The aim of this paper is to recommend mapping as a creative and speculative design tool that can make data more engaging to design thinking.

Synekdemos, a geographical text of Hierokles presents the administrative structure of the Eastern Roman Empire in the early 6th century AD. Six dioeceses (large administrative units), 64 eparchiai (provinces) and 920 poleis (cities) are registered in catalogues, in such a way that the political geography of the period becomes apparent. The critical edition by Honigmann (1939) displays maps without a geophysical background. This fact makes the study of the historical settlements network more difficult. In order to facilitate this study, maps of the 64 provinces have been created to describe and offer a clear overall view of the regional context. These maps follow historical topography as this appeared in Barrington Atlas of the Greek and Roman World (2000). In addition, they support a database which classifies the settlements according to historical and geographical criteria. The first set of criteria is related to parameters and variables, such as the date of foundation, constant presence in five historical periods, ancient and modern toponyms. The second set is related to the location of the settlements, and uses parameters and variables, such as geomorphology, water elements, communication networks and presence of a nodal point or port. The province of Palaia Epeiros has been chosen as an example of the advantages that such a database has to offer. The combination of maps with a database improves the historical-geographical study of the settlements network, and accentuates the importance of Synecdemos as a basic geographical text of the period, α quality that has escaped the attention of the “official” History of Cartography (1987).""

En este trabajo se analiza la población de la parroquia de San Juan de los Lagos a través de dos padrones de confesión de 1820 y 1824. En primer lugar se hace una reseña de la historia del pueblo desde su fundación hasta la guerra de independencia. En segundo lugar, el momento de la creación de la parroquia de San Juan Bautista. En tercer lugar, la estructura de la población por edad y sexo. Los bautismo y defunciones de 1810 a 1824. La última parte está dedicada a la cartografía parroquial.

Cet article propose une synthèse sur les différentes formes de cartographie participatives, qui ont émergé à partir des années 1980 dans le cadre de l’aide au développement, et se sont épanouies dans un tout autre contexte technique, avec les cartes numériques créées à l’aide d’interfaces de programmation, associées à un internet contributif, le Web 2.0. Dans un second temps, nous abordons les enjeux de ces cartographies, en montrant qu’elles matérialisent un transfert de pouvoir, mais ne sont pas exemptes de biais et de contraintes. Enfin, l’analyse porte sur le défi qu’elles représentent pour la cartographie en tant que discipline technique et académique, et leur intérêt pour une approche géographique des territoires.

Participative cartography, undisciplined cartographyThis article provides a synthesis of the various forms of participative cartography that emerged in the 1980s in the framework of development assistance, and flourished in a completely different context, with the digital maps created through application programming interfaces, associated with a collaborative and participatory internet, the Web 2.0. Secondly, we address the key issues of these cartographies, by showing that they materialize a transfer of power, but are not free from bias and constraints. Finally, the analysis relates to the challenge they represent for cartography as a technical and academic discipline, and their interest for a geographical approach of territories.

随着资本主义、殖民主义和民族国家体系的扩张，19、20世纪，全球土地被“领土化”。划分和争夺背后，折射的是全新的地理认知和政治意识形态。民族国家以人为划定的边界来塑造身份认同，传统的地域空间认知被国际法准则彻底改造。本文对日本殖民官僚兼学者篠田治策的“间岛”（中朝边境图们江以北）论述做“知识考古”，并将此论述放到19世纪的国际法及殖民知识体系中认知。提出的问题包括：为何篠田坚持将图们、鸭绿两江以北地区称为“无人地带”？他依靠哪些史料，并如何利用这些史料？更为重要的是，这些史料本身，又是如何形成的？本文揭示国际法话语与殖民体系之间的关系，反思用起源近代欧洲的国际法观念讨论古代东亚国家关系的倾向。此外，通过考察中朝边境地理认知的起源、传播、流变，本文也希望为探讨全球史框架下的东亚史，提供一个具体的案例。

The Earth isn't flat, but much bigger than we are told. The earth is a part of something much bigger. Therefore, it seems flat, but that's because of the scale. There are many continents, and 33 of them were camouflaged through our classic earth model, by bending them inward through Antarctica. This is where the term 'hollow earth' comes from.

The Bodleian Libraries’ c. 1400 manuscript, MS Douce 390, is comprised of folios containing artistic renderings and portolan charts. Folio 8r illustrates the Atlantic Ocean west of the Portugal and Spain. The cartographer/illustrator rendered on the western margin an approximate 1.25° run of the North American coastline. Within this latitude run various miniature illustrations of structures, tower icons, and X symbols representing Christ may be found. North of the illustrated coastline are additional features, primarily at 40.42° and 40.70° latitude. The features at these higher latitudes represent the Newport Tower, including one conjoined feature which illustrated a rectangular tower icon and a circle (partial). Scholars have already connected the MS Douce 390 portolan charts with Petrus Vesconte, an earlier work of Vesconte’s produced in 1320 being the model for the charts in the MS Douce 390. The c. 1400 illustrator copied Vesconte’s placement and illustration of a circular tower on the North American landscape.

Presentation is 65 slides.

PowerPoint presentation shared via my Google Drive location: https://drive.google.com/file/d/1HCYS6y0k4mfSdgFIFWF9VVEyxOpI5VwU/view?usp=sharing

This paper considers the nexus between creative and critical thinking in the making of original work as it relates to what Susan Sontag calls ‘an ethics of seeing’. In particular, it examines a way of expressing this thinking in terms of grammar and method (syntax, vocabulary, drawing, inventory, cartography), and how the structure or genre of the work emerges from, or out of the act of writing, both critically and creatively. ‘Parsing an Ethics of Seeing’ posits and presents possible approaches where the form of writing is in keeping with subject matter, in this case, an interrogation of absence and presence as poetic response in concert with what Roland Barthes calls ‘that-has-been’. It begins with the tongue and a drawing of a mother in ICU as referenced in the novel-cum-memoir Bite Your Tongue and ends with photographs of a father's body the day before he dies, which forms part of a ‘mer-mer’ or memoir-in-progress. Through language and grammar, the to and fro of sound and silence as Hélène Cixous thinks of it, and in a digressive and circumambulatory manner, this paper probes ‘what to look at’ and ‘how to think’.

Introduction 1 Methods 2 Results and Discussion 2 Ecuador SRTM DEM versus GROPO30 2 Introduction 2 Methods 3 Results and discussion 3 Honduras SRTM DEM versus 1:50,000 cartographically derived DEM 5 Introduction 5 Methods 6 Results and discussion 6 Conclusions 10 Dapa case study: Absolute and relative differences between DEMs at the sub-catchment scale 10 Introduction 10 Methods 10 Results and discussion 11 Conclusions 16 Tambito case study: Evaluation of a hole-filling algorithm 16 Introduction 16 Methods 16 Results and discussion 18 Conclusions 21 The hydrologically significant differences between SRTM and carthographically generated DEMs 21 Introduction 21 Methods 22 Results and discussion 22 Conclusions 28 Overall Conclusions 28 References 29 1 Introduction Topography is basic to many earth surface processes. It is used in analyses in ecology, hydrology, agriculture, climatology, geology, pedology, geomorphology, and many others, as a means both of explaining processes and of pr...

Este artículo revisa y conecta diferentes eventos, construcciones urbanas y cartografías históricas de Nueva York en el marco cronológico definido por 1783, año de la firma del Tratado de París –que acabó con la guerra de la independencia americana–, y 1811, cuando el Plan de los Comisionados estableció el modelo urbanístico para hacer de la ciudad una metrópolis a la par de las grandes capitales europeas. Durante este breve pero intenso período –no tan estudiado como a veces se piensa– se sentaron las bases materiales e inmateriales (físicas e identitarias) del Nueva York actual. Este trabajo se centra en la activa e importante contribución que dos disciplinas, la arquitectura y la cartografía, hicieron al mencionado proceso.

This essay reviews and connects different events, urban constructions and historical cartographies concerning New York in the chronological framework defined by 1783, the year of the signing of the Treaty of Paris –ending the War of the American Revolution–, and 1811, when the Commissioners’ Plan established the urban planning model to make the city a metropolis on a par with the great European capitals. During this brief but intense period –not as studied as it is sometimes thought– the material and immaterial (the physical and identity) foundations of the current New York were laid. This work focuses on the active and important contribution that two disciplines, architecture and cartography, made to the mentioned process.

Some of the most commonly used map projections, are analysed from the viewpoint of the deformation introduced, when the objective spherical surface is mapped into a plane. After a short theoretical account, formulae for the computation of dilatation and maximum shear strain are given for various projections. These two invariant quantities may be used as criteria for the choice of a map projection in addition to the traditional criteria of conformality, equivalence, etc.

17th century cartographers persisted in illustrating the Pre-Colonial Newport Tower even after Newport was settled in 1639. Joseph Moxon did so on his c. 1679 pocket globe. Use the 3D model of the globe on the British Library web site to replicate this research. You will get the same, or better, result that we did. Reproducible data confirms findings of fact. Every person who reads this has the ability to peer review the data by simply doing the same thing that we have done.

Il ruolo del colore nella rappresentazione delle eruzioni si
inserisce nella più generale e vasta problematica della definizione
di un codice cromatico per rappresentare in modo univoco le
unità geologiche. Sebbene già nel XVII secolo l’inglese Martin
Lister (1638-1712) avesse auspicato l’uso del colore proprio per
la traduzione delle informazioni di natura geologica, ancora alla
fine del Settecento la sua idea stentava a concretizzarsi visto che le
carte incise su rame continuavano ad essere in bianco e nero. Lo
stesso può dirsi anche per le cartografia dell’Etna che negli stessi
anni passava lentamente da una raffigurazione pittorica ad una più
esatta resa topografica, in cui sistemi di rappresentazione ancora
di tipo mimetico lasciavano intravedere le asperità e i declivi.
Nel 1838, Elie de Beaumont (1798-1874), pubblica la prima carta
topografica e geologica dell’Etna, in scala 1:111:111, introducendo
tre campionature di colore per indicare la distribuzione delle
rocce vulcaniche di differente età. Per la prima volta in una carta
dell’Etna compare una legenda che evidenzia la distinzione dei
terreni in base al colore. Il problema tecnico dell’incisione in bianco
e nero viene risolto mediante una stesura del colore manualmente
ad acquarello. In questi anni cruciali per la definizione dell’uso
del colore nelle carte geologiche, la Teoria dei Colori di Goethe
influisce notevolmente sulla scelta di colorazione fatta da Christian
Keferstein nella General Charte von Teutschland (1821). Con questo
lavoro si vuole dimostrare come anche la prima carta geologica
dell’Etna, alla scala 1:50.000, realizzata tra il 1848 e il 1861 da
Sartorius von Waltershausen (1809-1876) abbia subito l’influenza
del noto poeta tedesco, tra l’altro suo padrino di battesimo.
Sartorius infatti sceglie diverse gradazioni di verde per definire
l’età e la natura del terreno sedimentario vulcanico, creando
nell’osservatore una sensazione di armonia. Questo metodo di
colorazione rimase un caso isolato in quanto non fu apprezzato
dalla comunità scientifica internazionale contemporanea, ancora
fortemente divisa per quanto riguarda il codice cromatico delle
carte geologiche. Non è un caso se il Capitano di Stato Maggiore F.
Pistoja realizzerà il plastico topografico dell’Etna per l’Esposizione
Universale di Parigi (1878) utilizzando la cartografia di Sartorius
ma variandone i colori. La scelta di presentare proprio quest’opera
era stata dettata dalla necessità, dichiarata dagli organizzatori
dell’Esposizione, di definire una classificazione dei colori tale da
rappresentare in modo univoco le diverse unità geologiche. Nel
1881, durante il II Congresso Geologico Internazionale tenutosi a
Bologna, sarà scelto definitivamente il colore rosso nelle sue varie
sfumature per la rappresentazione delle rocce vulcaniche. Questa
convenzione sarà applicata per la prima volta, per quanto riguarda
l’Etna, tra il 1884 e il 1885 con la pubblicazione della Carta
Geologica d’Italia in scala 1:100.000.

Ce travail a pour but d'etudier l'interet de l'utilisation de la teledetection aeroportee, soit des images CASI (Compact Airborne Spectral Imager) a haute resolution spatiale et spectrale, pour l'amelioration des connaissances sur les recifs coralliens de la Reunion. En raison du faible developpement des structures coralliennes de l'ile, nous avons etudie le recif corallien de la Saline. Nous avons choisi une methode d'echantillonnage non aleatoire sur une base de 118 points d'echantillonnage pour une zone d'etude de 342,2 ha (12 classes). Nous avons reconnu sur le terrain les communautes a dominance corallienne en chacun des points echantillons. Puis, l'analyse de l'image multibande du platier recifal a permis d'elaborer, dans un SIG (systeme d'information geographique), une carte thematique. Cette carte a permis d'identifier la repartition des communautes et leur degradation sur le platier recifal de la Saline ainsi que de quanti...

In 1899 veroorzaakte een eigenwijze Amsterdamse onderwijzer, Roelf Noordhoff, een kleine sensatie in de aardrijkskundige onderwijswereld. Zijn twaalf schoolwandkaarten van de landen van Europa waren ontworpen op grond van pedagogische beginselen en vertoonden een ongekend sterk sprekende reliëfweergave. In schril contrast met de vele juichende recensies en het aanvankelijke commerciële succes van de wandkaarten stond echter de bijtende kritiek van een van de eerste wetenschappelijk geschoolde cartografen, Hermann Haack. De opvattingen van de pedagoog Noordhoff en de cartograaf Haack bleken ruim honderd jaar geleden onoverbrugbaar.

The issue of mental maps on one hand, and assessment of cartographic works on the other are relatively well-known and have been discussed by a relatively high number of authors. However, is it possible to interconnect the knowledge and use it meaningfully? The paper tries to find answers to this question. Its primary objective is to reveal the users' wishes and ideas about the content of maps. A proposal for the procedure of assessment of cartographic works in terms of aesthetics and user-friendliness is introduced, making use of mental maps by users. The question to what extent mental maps can be utilized as decisive for the finalisation of results is still left unanswered. Nevertheless, the paper presents one of input propositions of a research project carried out at the Charles University in Prague. KEY WORDS: mental maps, assessment of cartographic works, usability

Pier Paolo Pasolini convirtió el hábitat del subproletariado romano de los años 50 y 60 en un argumento central de su obra. Su variada y amplia producción –no solo sus películas y guiones o sus novelas y poemas, sino también sus entrevistas y artículos– merece ser considerada parte de una historia de Roma interdisciplinar, abierta y articulada (como la propia dinámica pasoliniana). De acuerdo con ello, el presente trabajo aborda un análisis del Viaggio per Roma e dintorni (1958), un artículo que Pasolini escribió para la revista Vie Nuove, repetidamente relegado a segundo plano a pesar de ser uno de los escritos más claros y descriptivos del autor acerca de esa otra Roma marginal que conocía de primera mano. El trabajo concluye con una serie de composiciones cartográficas en las que texto, cine y forma urbana se imbrican para visualizar aquella ciudad “desconocida para el turista, ignorada por el biempensante, inexistente en los planos”.

Pier Paolo Pasolini turned the habitat of the Roman lumpenproletariat of the 50s and 60s into a central argument of his work. His varied and extensive production –not only his films and scripts, or his novels and poems, but also his interviews and articles– deserves to be considered part of an interdisciplinary, open, and articulated history of Rome (like the Pasolinian dynamics itself). Accordingly, this paper tackles an analysis of Viaggio per Roma e dintorni (1958), an article that Pasolini wrote for the magazine Vie Nuove, repeatedly overshadowed despite being one of the clearest and most descriptive writings of the author about the marginal Rome that he knew firsthand. This paper concludes with a series of cartographic compositions in which text, cinema, and urban form are intertwined to visualize that city “unknown to the tourist, ignored by the right-thinking, non-existent on maps”.

This small (4.72” diameter) map is part of the combined Ptolemaic system planisphere illustrated on the frontispiece of the 16th century MS. Ashmole 1789 manuscript, a holding of the Bodleian Libraries. This manuscript, commonly referred to as the "Primi quadriui mysterium," was authored by the famed English polymath, Dr. John Dee. The exact date of the manuscript is not certain.
    Public thanks to the staff of the Bodleian Libraries for re-imaging the frontispiece of the MS. Ashmole 1789 manuscript. The re-imaging produced two high-resolution TIFF images that were more than sufficient to conduct a detailed analysis on what John Dee had drawn over four centuries ago. 
    John Dee operated in the inner circle of Queen Elizabeth I. His knowledge of navigation and geodesy supported the English efforts directed at colonizing the North American continent. His authored works outlined the basis for England’s historical claim to North America. Dee was slated to acquire a significant parcel of land in the Narragansett Bay region had the 1583 expedition of Sir Humphrey Gilbert reached the bay and planted a colony. Gilbert’s expedition failed and he perished on the return trip to England.
    This map of Dee illustrated the Newport Tower on the edge of an island situated off the North American coast at 41.50° latitude. The offshore island was outside of a large, over-emphasized bay that cut into the interior of North America. The illustration on this present map parallels another map that Dee produced where he illustrated the Newport Tower on the edge of the triangular-shaped island of CLAUDIA.
    Additional tower icons were illustrated by Dee on this present map. One icon is on the western edge of the large, over-emphasize bay. A cityscape arrangement of tower icons were positioned at the southern opening of the bay. Lastly, a rectangular white pigment tower icon was rendered adjacent to the southern end of the island containing the Newport Tower.
    Dee also illustrated various tower icons in England, Ireland, Portugal, and Spain.
    Presentation is 47 slides.
   
Google Drive PowerPoint: https://docs.google.com/presentation/d/1PlIMNzHdSR4jnzoKarEzgOHE0WkUaMcv/edit?usp=sharing&ouid=108078659971084354140&rtpof=true&sd=true

This paper explores the idea of “propositional
geography”, which postulates that any
representation we make of the world changes
our perception and engagement within it. For
example, if an individual draws a road-map from
their home to work, it shifts the perception of
that route for the recipient of said drawing. The
process of mapping has the power to unlock
attributes and qualities of the physical world,
and suggest processes, systems and features that
have not yet, and may never, come to pass.
This paper will explore the origins of this
concept, and demonstrate to what extent this
occurs, both in the physical and conceptual
realm. It will explore new mapping processes
and forms of representation. Finally, it will
speculate on what the implications are for
the future, and what the products and ethical
considerations might be given these findings.
It is important to note that the term
“propositional geography” is a recent addition
to the vernacular of landscape architectural
theory. As such, the concluding chapters of
this text are hopeful contributions to the future
of this particular discourse, and are in no way
concrete predictions.