Now that Where the Animals Go, a book that maps tracking data from field biologists’ research projects, is available in a U.S. edition (previously), it’s getting another round of media attention on this side of the pond. This CityLab piece interviews the authors and highlights several of the maps (and the studies behind them).
Previously: Where the Animals Go.
Ottawa-based artist Stuart Arnett creates works of art by drawing and painting directly on topo maps and nautical charts—“a mixed medium art form that I have named ‘Artistic Cartography,’” he says. “This combines a geographical map with graphite, Staedtler Marker and paint. This art form allows the subject matter to be paired with its natural habitat.” Giclée prints and originals are available via his website. [World of Maps]
The Washington State Department of Transportation is clearly run by sadists. They held a contest to create a map of road closures and special events in the Seattle area over the busy 29 September to 1 October weekend. But because they’re sadists (or because it’s Washington State, home of Microsoft), the map had to be created using Microsoft Paint, with entrants drawing on a supplied base layer.
In the end, there were four entries, which can be viewed at this Flickr album. Voting is by likes on Flickr or via Twitter. [Sarah Bell]
Geo Lounge’s Elizabeth Borneman has a piece on Tissot’s indicatrix, which tends to turn up in discussions of map projections. (See, for example, this piece from Vox’s Johnny Harris, and the accompanying video.) And for good reason: it’s a useful visualization tool. All maps distort—representing a curved surface on a flat plane, et cetera, et cetera—but a grid of Tissot’s indicatrices superimposed on a world map will measure the distortion—linear, angular, by area—produced by that map’s projection. On the Mercator projection, the indicatrices remain perfect circles, but grow larger toward the poles; on equal-area equatorial projections, they maintain their size but squish into ellipses; on other projections they also angle left or right depending on how close they are to the edge. On compromise projections like the Robinson (see above), they do all three.
You don’t have to draw a pointy-witch’s-hat faux-medieval map. You can draw an oblique perspective. You can fill your map with misdirection. You can scrawl annotations over it and make it an actual artifact of your story. You can make geological maps, three-dimensional cutaways, cartoons, whatever suits your story. In fact, I await the day when authors realise they can be as creative—and subversive—with their maps as they are with their text.
That’s Russell Kirkpatrick, a geographer and fantasy novelist from New Zealand, in a blog post discussing the use and usefulness of fantasy maps. Should fantasy maps have maps? “No, for three reasons.” Should authors draw maps? Yes, even if it doesn’t end up in print. Lots of interesting things said here. [Paul Weimer]
Illustrator Lis Watkins created this hand-drawn map of London’s bridges for the AA and Londonist. At Mapping London, Ollie O’Brien notes that the bridges are shown “in their approximately correct geographical position, and correct distances apart, although the width of the Thames itself is greatly exaggerated, as a fish jumping out of the river announces in a little speech bubble!”
This crowdsourced map of collapsed and damaged buildings in Mexico City (in Spanish) appeared shortly after the 7.1-magnitude earthquake hit central Mexico on 19 September [via]. NASA also produced a map, based on radar data from the ESA’s Copernicus satellites that compared the state of the region before and after the quake. Interestingly, the data was validated against the crowdsourced map.
The New York Times produced maps showing the pattern of damage in Mexico City and the extent and severity of earthquake shaking (the Times graphics department’s version of the quake’s Shake Map, I suppose) as well as how Mexico City’s geology—it was built on the drained basin of Lake Texcoco—made the impact of the quake much worse.
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Maps aren’t always named for their creators. The Gough map and the Selden map are named the people who owned them last before bequeathing them to the Bodleian Library. The Cantino planisphere, a Portuguese map of the world showing that country’s discoveries in the Americas and along the African coast, is named after the person who, ah, acquired it: in 1502 Alberto Cantino, undercover agent for the Duke of Ferrara, smuggled it out of Portugal, where maps were state secrets. Here’s an article about the Cantino planisphere from the March/April 2017 issue of National Geographic History magazine.
I can’t explain how I missed this one when it came out last fall. You Are Here: Tales of Cartographic Wonders is an anthology of 18 science fiction and fantasy stories about maps. Edited by N. E. White, it includes one story I’ve seen before: Charlotte Ashley’s “Eleusinian Mysteries.” I look forward to reading the others and reporting back. Amazon | iBooks
Some of the most striking maps of the recent bout of hurricanes have involved the sheer amount of water dropped by these storms. (See previous posts on Harvey and Irma.) Above, a is a short NASA video showing Maria’s track through the Caribbean, dumping water in its wake.
Relatedly, the Washington Post produced maps of precipitation and river gauge levels on Puerto Rico that show just how much water Maria threw at that island.
A quick tour around European news sources this morning turned up few, or small, maps of the results of yesterday’s federal election in Germany. (At least so far: it’s only been a day, and I wasn’t very thorough.) I’ve mostly seen graphs and other infographics being used to show the results: see ZDF’s gallery. But yesterday Maps Mania found the Berliner Morgenpost’s live map of the results, which presumably was being updated in real time yesterday. German elections are a little complicated, so the map has a number of tabs showing various aspects of the results: first (constituency) and second (party) votes, who came second or third, where various parties got the bulk of their support and so forth.
Two related map exhibitions are taking place right now in the Netherlands. Mapping Japan runs until 26 November at the Japan Museum SieboldHuis in Leiden. Its focus is on 18th- and 19th-century Japanese maps from the Leiden University Libraries’ collections. “The impressive scroll painting of the Japanese coast and the personal maps belonging to Philipp Franz van Siebold (on display for the first time) are unquestionably the highlights of this exhibition.” (Possessing those maps got Siebold in considerable trouble in Japan.) Also in Leiden, Mapping Asia runs until 14 January 2018 at the Museum Volkenkunde. Its focus is on the objectivity (or lack thereof) in cartography, and features maps of both European and Asian origin. One highlight is a digitally reconstructed map of the Chinese Empire. [WMS/WMS]
Atlas Obscura has the story of Guatemala’s Mapa en Relieve, an exaggerated-relief 3D relief model of the country. The 1:10,000-scale horizontal, 1:2,000-scale vertical map is approximately 1,800 square metres in area and made of concrete. Built by Francisco Vela and put on display in 1905, the map includes present-day Belize as part of Guatemala, which claimed the British Honduras at that time. It kind of reminds me of British Columbia’s Challenger Map, only a half-century older and made of concrete rather than wood. [WMS]
Quite the dramatic animation from the USGS’s Office of Water Information: it shows not only Hurricane Irma’s path through Florida, but also the total accumulated rainfall and stream gauge height. As the path of the hurricane moves across the U.S. mainland, the map erupts in the blue that shows total rainfall.
Matthew Cusick’s art, which is constructed from collages of old maps, has turned up in an unusual place: Automobile magazine, which has an article looking at his more car- and highway-inspired pieces. [WMS]
Previously: Another Look at Matthew Cusick.
