Landmarks: Maps as Literary Illustration, an exhibition of literary and fantasy maps at Harvard’s Houghton Library, is free to the public and runs through 14 April 2018. “Presented in conjunction with the bicentenary of the Harvard Map Collection, this exhibition brings together over 60 landmark literary maps, from the 200-mile-wide island in Thomas More’s Utopia to the supercontinent called the Stillness in N. K. Jemisin’s The Fifth Season. Visitors will traverse literary geographies from William Faulkner’s Yoknapatawpha County to Nuruddin Farah’s besieged Somalia; or perhaps escape the world’s bothers in Pooh’s Hundred Acre Wood.” Atlas Obscura has more on the exhibition, along with a selection of some of the maps it presents. [Tony Campbell]
Opening today at Harvard University in front of the Map Collection in Pusey Library and running until 28 February, Look but Don’t Touch: Tactile Illusions on Maps looks at the use of simulated textures in maps.
Beginning particularly in the eighteenth century, philosophers began to debate what role each of our senses has in this experience. For eighteenth-century philosophers, the crucial distinction was between sight and touch. Would we, they asked, be able to experience depth and understand size without our sense of touch? George Berkeley and Etienne Bonnot, Abbé de Condillac, among others, hypothesized that touch, in fact, was primarily responsible for our experience and understanding of space. All visual knowledge about depth and size, they suggested, derived from tactile experiences. In other words, we needed touch to teach us to see. But what happens to the map if we take seriously this challenge to a visual understanding of space?
All maps in this exhibition toy with the relationship between touch and sight. For some, their interest in touch and sight is ornamental. Either by delighting in the visual illusion of tactility or by referring to a visual cliché, these maps enliven their design—and attract buyers—by appealing to our hands. For others, their interest in touch and sight is about knowledge itself. Either by depicting cartographers’ tools and materials or by tempting us to touch what is not there, these maps play with our sense of what a map is and where it comes from. Paradoxically, they teach us visually about particular places while also questioning the basis for their own visual instruction.
The online version can be found here.
A new exhibition at Harvard University’s Pusey Library, Manuscript Maps: Hand-Drawn Treasures of the Harvard Map Collection, “highlights the process of mapmaking by looking at maps drawn by hand.” Opened yesterday; runs until September 27.
Meanwhile, in Schenectady, New York, there’s another exhibition at Union College’s Kelly Adirondack Center: Parts But Little Known: Maps of the Adirondacks from 1556 runs until September 29.
Where Disaster Strikes: Modern Space and the Visualization of Destruction, an exhibition of disaster maps, is taking place now until 19 April at Harvard’s Pusey Library.
Floods, fires, earthquakes, volcanoes, bombings, droughts, and even alien invasions: disaster can take many forms. And, although disasters are always felt dramatically, a disaster’s form and location impacts who records its effects and what forms those records take. “Where Disaster Strikes” investigates the intertwined categories of modern space and disaster through the Harvard Map Collection’s maps of large destructive events from the London Fire to the present.
Open to the public. The exhibition also has a substantial online presence.
A 1769 map of New Jersey by the famed colonial surveyor Bernard Ratzer, commissioned to settle a longstanding border dispute between New Jersey and New York, has been uncovered by a Harvard University librarian. The map, criss-crossed by competing and alternate boundary lines, has been digitized and is available to view online as part of Harvard’s Colonial North American project.