Google Maps had to apologize again last week, this time because searching for racist terms gave results like the White House and Howard University. The results were derived from online discussions: idiots using an offensive term to describe a place associated the term with the place in Google’s search algorithms. Google says it’s changing the algorithm to fix the problem (because algorithms are to Google what procedures are to bureaucracies—the source of, and solution to, all life’s problems). Boing Boing, Engadget.
To be fair to Google, crowdsourcing map data does have its pitfalls: OpenStreetMap has to deal with this sort of thing all the time. You have to have something in place to deal with bad-faith edits. None of the edits I’ve made to Google Maps went through without someone reviewing them, so I’m surprised that this could happen. That said, when you need your map updated fast (such as during natural disasters like yesterday’s earthquake in Nepal), it’s hard to beat crowdsourcing.
Whereas the older version of the map showed only that part of the sea ice that permanently covered Arctic waters year round at that time, the new edition uses a 30-year median of September sea-ice extent from 1981 through 2010. September sea ice hit a record low in 2012 and is projected to decline further. The change means there is far more ice shown on the 2015 version of the map than on its predecessor.
The changes can be seen below: the 2006 map is on the left, the 2015 map on the right.
Now as Semeniuk’s piece points out, neither way is wrong. But all maps have a point of view, and it’s naive to think that this change was made in a value-neutral environment: this was the result of a conscious decision. The reason for that decision—that’s what’s interesting.
Dawn’s first colour map of Ceres: map-projected false-colour images of the dwarf planet taken as the spacecraft approached, assembled from images taken through blue, green and infrared filters. (Previously: At Ceres.)
Alastair Bonnett’s Unruly Places (first published in the U.K. as Off the Map) is a light, entertaining exploration of some of the world’s more unusual places. Bonnett, a social geography professor at Newcastle University, has written 47 short essays about locations that, in the grand scheme of things, don’t make any sense: the exceptions, the asterisks, the ink blots (in at least one case literally) on the map.
These range from the deeply frivolous to the profoundly injust: from bits and pieces of New York City transformed into environmental time capsules and art projects to places meaningful to the author; from rendition sites and pirate bases to Bedouin settlements in the Israeli Negev desert; from destroyed landscapes to Potemkin cities. The places often feel almost science-fictional; and in fact several of them evoked settings in existing science fiction works, like Christopher Priest’s Dream Archipelago and Maureen McHugh’s Nekropolis.
All in all, a pleasant diversion for the geographically minded, though I did have one quibble: the book calling latitude and longitude “Google Earth coordinates,” as though degrees are as proprietary as the KML format.
Emily Garfield’s art is a pen-and-watercolour exercise in the cartography of imaginary places. Her drawings “are inspired by the visual language of maps, as well as the fractal similarity that cities share with biological processes such as the patterns of cells and neurons.” Above: “Branching Networks (Cityspace #178).”
Meanwhile, the Pro version of Google Earth, which used to cost $400/year, is now free. Google Earth itself launched in June 2005, so is approaching its own 10-year anniversary, but it began its existence a few years earlier as Keyhole EarthViewer 3D.
The photo above marks another anniversary: It shows Apollo 14 astronaut Ed Mitchell consulting a map during his second lunar EVA on February 6, 1971. Apollo 14 returned to Earth 44 years ago yesterday.
Someone was responsible for the maps developed for the film adaptations of The Lord of the Rings, The Hobbit and other movies (on-screen and in promotional materials), and that someone is Daniel Reeve, a freelance artist who also did a lot of the letterwork and calligraphy. Via Boing Boing.
Map projections are inherently interesting, and also a great way to start a fight among a group of cartographers: just ask them their favourite and step back. Everyone has their preferred projection, me included, that fits their own needs and aesthetic. Cartographer Tom Patterson, whose work I’ve featured previously on The Map Room, has added another projection to the mix, the eponymous Patterson Projection, a cylindrical projection which “falls between the popular Miller 1, which excessively exaggerates the size of polar areas, and the Plate Carrée, which compressess the north-south dimension of mid latitudes.” It looks like a compromise projection in cylindrical form. A full article on the design and development of the projection is forthcoming at the link.