I’ve said it before, and I’ll say it again. If fantasy map generators can produce a map that is at least credible in comparison to the human-made product, what does that say about that human-made product in terms of the imagination and creativity that went into it?
Because pictorial maps were artistic rather than scientific, Hornsby argues, they were ignored as a subject of cartographic study—“treated as ephemera, the flotsam and jetsam of an enormous sea of popular culture.”1 As such they have not been preserved to the same extent as more strictly cartographic maps. (Being printed on cheap acid paper didn’t help.) But as products of popular culture they were distinctive—and ubiquitous. “By World War II,” he writes, “pictorial maps had created a powerful visual image of the United States and were beginning to reimagine the look of the world for a mass consumer audience.”2 They were so prevalent, I suppose, that they were invisible. Taken for granted. It frequently falls to the historian of popular culture to point out that the common and everyday is, in fact, significant. That’s what Hornsby is doing here.
Opening today at the Osher Map Library in Portland, Maine and running until 10 March 2018, an exhibition of cartographic art called Go Where the Map Takes You: The Intersection of Cartography and Creativity. “Maps show many versions of our world, for many purposes, but their simplest purpose is to show the way from one place to another. The artists in this exhibition have used the techniques of mapping, and maps themselves, to show the way to the metaphorical and the metaphysical. We invite you to explore these artworks and see where they lead you.” Featuring several familiar artists.
When it comes to maps of the results of Australia’s same-sex marriage referendum (or, to be more precise, postal survey), it’s a mixed bag. At the official end, the Australian Bureau of Statistics provides infographics, but no maps. The Sydney Morning Herald provides a map of the results by district (see screenshot above), but it’s boolean (yes/no) rather than a choropleth or heat map. For that, you’ll want to look at The Australian’s interactive map (they also have a map showing yes/no by constituency, centred on Sydney, whose western districts voted against the most).
Finally, this map by “lunatic map maker” Matthew Isbell is making the rounds; I want to make sure he’s correctly attributed.
Earlier this year, we shared the first results of this effort with pollution levels throughout the city of Oakland.
We’re just beginning to understand what’s possible with this hyper-local information and today, we’re starting to share some of our findings for the three California regions we’ve mapped: the San Francisco Bay Area, Los Angeles, and California’s Central Valley (the Street View cars drove 100,000 miles, over the course of 4,000 hours to collect this data!) Scientists and air quality specialists can use this information to assist local organizations, governments, and regulators in identifying opportunities to achieve greater air quality improvements and solutions.
On Obsidian Wings, a post on why I need maps in fantasy novels: “Two books I recently read made me realize that I don’t just like maps, they’re part of how my mind works. For me, a map is a type of memory palace, linking up all kinds of information for easy retrieval. Without one, I don’t just feel lost, I feel dumb—because my memories are disorganized and harder to recall.” An interesting take on the usefulness of fantasy maps. [Skiffy and Fanty]
Cartografías de lo desconocido persigue dos objetivos. Primero, hacer que el espectador se fije más en el mapa y menos en el territorio, pues sucede a menudo que el mapa—como cualquier buen truco de magia—suele esfumarse, tiende a borrar las convenciones visuales y espaciales sobre las que se apoya para susurrarle al espectador y mostrarle con aparente trivialidad: “Usted está aquí”, “así es la Tierra”, “este es su país”.
Sin embargo, nada es lo que parece. Por eso, en segundo lugar, queremos ofrecerle al visitante un recorrido por algunos de los recursos y los temas más frecuentes en esta historia del conocimiento y el ilusionismo, cómo han gestionado los mapas la información improbable, las novedades, los hechos inciertos, las regiones ignotas, los fenómenos invisibles.
Philip Parker’s History of Britain in Maps(HarperCollins) includes 100 maps covering the island’s entire history, from Matthew Paris and the Gough Map to maps of the EU referendum results. Out now in the U.K.; according to Amazon it’ll be in stock in Canada in December and in the U.S. next February. [Amazon]
I’ve finally updated the Map Books of 2017 page to account for all the books that were brought to my attention over the past few months.
Later this month it’ll be time for me to post the 2017 edition of The Map Room’s Holiday Gift Guide. Each year I put out a list of some of the noteworthy books about maps that have been published over the previous year. This year’s guide will be a rather smaller selection of the above list, focused on gift-giving (academic monographs and GIS manuals make less-than-ideal gifts, I’m thinking); the Map Books of 2017 page is meant to be more comprehensive.
Cartographers in the Field: “This Depression-era oil painting was created by USGS field man Hal Shelton in 1940. The painting depicts mapping techniques used in the early days of cartography, including an alidade and stadia rod for determining distances and elevations and a plane-table for sketching contour lines. A USGS benchmark is visible near the top. The straight white lines represent survey transects. Note the ‘US’ marking on the canteen: many of the USGS field supplies were obtained from Army surplus.” [Osher Map Library]
Join Alex Acks and Paul Weimer as they talk about fantasy maps in order to give you the tools you need to create and map your world. Topics include basic geologic principles, common mistakes, forms maps can take, how maps reflect world view, and how maps change over time.