Vernon Subutex, Tome 1, Virginie Despentes        
Et voilà, j'entame la trilogie de Virginie Despentes qui fait tant parler d'elle. C'est appréciable d'ailleurs parce que du coup, on entend plus souvent madame Despentes et que j'apprécie ce qu'elle a à dire la plupart du temps. Et puis, ce Vernon Subutex, autant dire qu'il m'intriguait beaucoup, comme un peu tout les livres de l'autrice.

Vernon Subutex, Tome 1, Virginie Despentes

Editeur : Le livre de poche
Collection : /
Année de parution : 2016
Nombre de pages : 432

A lire si : 
- Vous voulez une sorte de cartographie des parisiens
- Vous aimez les romans à plusieurs voix

A ne pas lire si : 
- Vous cherchez le trash des premiers romans de Despentes

Présentation de l'éditeur : 

QUI EST VERNON SUBUTEX ?
Une légende urbaine.
Un ange déchu.
Un disparu qui ne cesse de resurgir.
Le détenteur d’un secret.
Le dernier témoin d’un monde disparu.
L’ultime visage de notre comédie inhumaine.
Notre fantôme à tous.

Mon avis

Virginie Despentes est connue pour un côté trash qui tend non pas à disparaître, mais plutôt à être plus maîtrisé. Disons que la colère de l'autrice me semble plus contenue, toujours là, mais contenue. On appelle ça la maturité chez certain, et j'aurais presque tendance à dire que pour Virginie Despentes, c'est bien cela, du moins dans sa manière d'écrire.Vernon Subutex n'est pas un livre à part dans son oeuvre. Apocalypse Bébé en été même, pour moi, une sorte de précurseur. C'est dans ce roman-là qu'elle a commencé à utiliser plusieurs voix pour parfaire son récit. Surement pas pour rien d'ailleurs que l'on retrouve dans Vernon l'un des personnages d'Apocalypse Bébé. Mais revenons au roman.

Alex Bleach, chanteur de rock, s'est suicidé. Avec lui part le loyer qu'il payait par amitié à Vernon Subutex, le disquaire qui lui a permis de découvrir la musique. Un Vernon qui a dut fermer boutique depuis un moment, qui n'a pas retrouvé de boulot et qui soudain, se retrouve à la rue, dans l'incapacité de payer son loyer. Vernon décide alors de squatter les lits et canapés de ses amis (anciens comme nouveaux), en inventa comme prétexte de revenir sur Paris après un passage à Québec. Tandis qu'il va de copains en copains, nous allons découvrir les portraits de ses parisiens qui ont pour point commun soit Vernon soit Alex Bleach.

Virginie Despentes essaie de "cartographier" la population parisienne et je suppose qu'elle y arrive pas mal (je ne suis pas parisienne, il y a des choses dans son roman qui me semble parfois carrément surréaliste pour la provenciale que je suis). Elle s'attaque, si je puis dite, à tous les niveaux, toutes les classes sociales. Et elle fait ça plutôt pas mal. Si j'avais trouvé dans Apocalypse Bébé (oui on y revient souvent à celui-ci, mais faut dire qu'ils se ressemblent assez dans la bibliographie de l'autrice) qu'il y avait trop de stéréotypes, je les trouve bien mieux gérés ici. Oui, nous en trouvons toujours (la bourgeoise qui pète littéralement son câble après s'être fait des films et s'être fait largué, le traders qui vit à cent à l'heure entre bonne affaire, drogue et baise...) mais par contre, on trouve aussi pas mal de personnages qu'on n'a pas l'habitude de voir et qui même si parfois, ils sont un peu clichés, ils permettent d'offrir de la visibilité.

Sur la dizaine si ce n'est plus de personnages que l'on va découvrir au fur et à mesure de l'avancée de la nouvelle vie de Vernon, il y a vraiment des personnages géniaux. On retrouve quelques LGBT, plus particulièrement lesbienne et trans. Et elle les traite parfaitement ces personnages-là, elle ne va pas dans le bon vieux cliché (même la Hyène est plus en nuance par rapport à Apocalypse Bébé). On sent l'authenticité dans ces personnages-là. Et ça fait du bien. Et ils ne sont pas les seuls comme ça.  

Et ce que j'ai particulièrement apprécié c'est vraiment le mélange de personnalités, les riches, les pauvres, les gens "normaux", les ex stars du X, les de gauche, les de droites, les des extrêmes et j'en passe. Vraiment, on croise de tout dans ce Vernon. Surtout qu'il est agréable de voir qu'elle les traite tous de manière presque égale. C'est à dire que même ceux qu'elle ne doit sûrement pas supporter, elle arrive à les rendre moins nauséabond que ce qu'ils sont. On sent bien l'ironie sous les descriptions, mais en même temps, on s'y attacherait presque.

Virginie Despentes a donc réussi avec ce premier tome une belle fresque de ce qu'on peut retrouver comme parisiens à notre époque. Elle le fait d'ailleurs avec une certaine douceur, loin de la colère de ses débuts. Une colère qui revient pourtant au fur et à mesure des pages mais qui n'explose pas autant. On retrouve aussi des moments un peu plus "trash" même si justement trash n'est pas le mot. Disons que lorsque ça parle sexe, l'autrice ne fait pas toujours dans la dentelle. 

Au final, c'est une fresque vraiment intéressante que nous lisons avec ce premier tome. Intéressante par son côté très humain et réaliste.  Et puis, il y a cette écriture, vive, colèrique et en même temps douce, bienveillante même parfois. Bref, une réussite qui je l'espère continuera avec les deux tomes suivants.

                  
Looking for old maps of the Mississippi River, New Orleans, and surrounding areas? Check out the Norman B. Leventhal Map Center at the Boston Public Library. They are dedicated to the creative educational use of its cartographic holdings, which extend from the 15th century to the present, including many Louisiana maps.

See: http://maps.bpl.org
          Asters, Spores & Silent Spring / January 2014 Acquisitions        

The first books accessioned to the PLL in 2014 include:

The Earth and Man: Lectures on Comparative Physical Geography, in its Relation to the History of Mankind by Arnold Guyot (Maria Mitchell Personal Collection), and

Vasari's Lives of the Artists by Giorgio Vasari (Robert Smithson Collection);

both seen below, with cartography on display.

 

Also new to the Robert Smithson Collection:

The Waste Land and Other Poems by T.S. Eliot,
The Invisible Pyramid by Loren Eiseley,
A Concise History of Modern Painting by Herbert Read


A lovely spread from The Invisible Pyramid, displaying a woodcut at the beginning of The Spore Bearers chapter:


Connected illustrations are seen from new books from the Anne Spencer Collection:

Helena Rutherfurd Ely's A Woman's Hardy Garden, and
Rachel Carson's Silent Spring:


Other new books:

Representative Men: Seven Lectures by Ralph Waldo Emerson, and

A Concise History of Modern Painting by Herbert Read.


For any questions about the Library, Collections or books, please contact the Librarian at personallibraries{at}gmail{dot}com. 
          Adventures in Homeownership: In Which a Harmless Piece of Wall Art Goes Horrifically Awry        
Rickey enjoys decorating his new home. So much so that Rickey went so far as to find a local area map of his neighborhood, order a print of it online, and commission it framed to be framed and mounted on on a wall. A stylish frame was selected, the proper matte color was picked, and Rickey was content in the knowledge that this would make a great addition to the house. Rickey is nothing if not stylistically inclined. Behold:
And under normal circumstances, the story would have ended right here. But not today. Take a good look at the above picture.

But look carefully at the image. No, closer. Closer.
See it? Woo boy. No, your eyes do not deceive you. It looks exactly what you think it looks like. Man-cock. After all that effort picking out the map, framing it, and mounting it, Rickey suddenly realized that he had hung a gigantic 48" x 34" print of a male dong on his living room wall.

How did this chain of events come to pass? We're not entirely sure. But over $800 dollars later, that's what Rickey is stuck with: a textbook anatomy picture of the male reproductive organ front and center in Rickey's new house. Oh, joy. This will make for interesting conversation at the housewarming party.

You know what Rickey blames this on the breakdown of? SOCIETY.

First off, there was the cartographer circa 1819, sitting pretty in his aerial balloon, who went totally off the reservation and decided to sketch a map in the exact likeness of his own privates. Then, there was Rickey's realtor, who completely neglected to inform the Hendersons that they were purchasing a house in an area that geographically personifies a dude's penis. And finally, there was the guy at the framing store, who in good conscience, should have said something along the lines of "whoa there buddy, you're about to drop a shitload of money framing a massive print of a man's genitals." But he didn't.
And so every one of these safety nets failed Rickey, and now here he is, stuck with an enormous picture of a dude's dong on his wall. Well, fuck. At least Rickey didn't splurge on the UV resistant museum glass option for $400 more. Still, Rickey is stuck with a piece of wall art that looks like it came fresh from the Phallic Picture Emporium.

Where exactly is Rickey's house located on the map? Best as Rickey can figure, it's swimming around somewhere in the descending testicle. For comedic purposes alone, Rickey still hung the damn thing up on the wall.

Rickey is yours to mock in the comments section below.

          La nouvelle version de Google Maps s’intéresse aux voyageurs        

Google s’apprête à lancer une nouvelle version de son service de cartographie, Google Maps 10.0. Une version beta est déjà proposée à l’essai depuis le début de ce mois. Elle dispose de nouvelles fonctionnalités, dont une qui pourrait contenter les utilisateurs les plus mobiles. En attendant la version 10.0 de Google Maps, une version beta est […]

The post La nouvelle version de Google Maps s’intéresse aux voyageurs appeared first on Express [FR].


          Where to find maps of the Isle of Man        

When I first started adding road network data for the Isle of Man into the OpenStreetMap project, there were only a few map sites online that had maps of the Island, and none as easy to use as the Google Maps service (which at the time did not include maps of the Island, and still doesn't to this day) which rocked the world of web mapping when it launched.

As I recall, the sites with maps of the Island at that time were limited to MultiMap and the Ordnance Survey Get a map service.

Things have come a long way since then though. The OpenStreetMap maps of the Isle of Man are not too far away from being complete (with a little help), but aren't yet ready for end users looking for detailed maps. Many of the other map providers do, however, have great coverage of the Island in their maps. Here's a bit of an overview detailing the merits of each of them:

Site Overview Description

192.com

192.com map of the Isle of Man

Map of roads, railways and railways stations (marked incorrectly with British Rail logos), rivers, plantations, reservoirs and long distance footpaths. Does not allow zooming in to towns for detailed street maps.

Ask.com

Ask.com map of the Isle of Man

Map of roads, rivers, some plantations and reservoirs. Includes detailed street map information.

Google Maps

Google Maps map of the Isle of Man

Map of Island outline.

Microsoft Live Search

Microsoft Live Search map of the Isle of Man

Map of terrain, roads, railways and railways stations, rivers, plantations and reservoirs. Includes detailed street map information. Island incorrectly attributed to the UK.

Multimap

Multimap map of the Isle of Man

Map of roads. Does not include detailed street map information (streets disappear from map beyond a certain zoom level) but does include the Ordnance Survey 1:50,000 map of the Island if you hover your mouse over the 'map' toggle to the left of the map.

OpenStreetMap

OpenStreetMap map of the Isle of Man

Map of roads, railways and railways stations, rivers, plantations, reservoirs and some long distance footpaths. The town street maps are not very detailed yet.

People's Map

People's Map map of the Isle of Man

Map of main roads and some rivers. The map disappears past a certain zoom level, but they do have excellent aerial imagery for the whole of the Island.

Yahoo! Maps

Yahoo! Maps map of the Isle of Man

Map of terrain, roads, railways and railways stations (marked incorrectly with British Rail logos), rivers, some plantations and reservoirs. Includes detailed street map information.

I've included all the draggable ("slippy") map providers - or at least the ones I can think of right now - to give a bit of an overview of how their coverage differs, and also give a bit of a glimpse into the differences between their cartography and general feel of the maps. Also worth a mention here are the street maps that the Government provide for most towns across the Island.

With all these mapping services providing maps of the Island for free, is it really still worth continuing to build up the map data in the OpenStreetMap project? Of course it is! These maps are nothing but that: static maps, and some of them really great ones at that. They are great if all you want is a static map, somewhere to share a single location with someone else, or even the ability to overlay your own information on top of the map using that provider's API.

The whole point behind the OpenStreetMap project though (and to a certain extent, the People's Map project) is that the underlying map geodata is available and re-usable under a free license for you to be creative and do what you like with that data.

Maybe you're working in conservation and want to create a map showing all the rivers and different habitats on the Island, but not include roads. Maybe you are a walker and want to create a map that shows just the footpaths on the Island. Maybe you run a local listings site and you want to create a map that shows only the locations you want it to show and hide things that may not be of interest to your visitors. There are many possibilities, and the great thing is that if you have an idea, you can go off and use the data we're building up, allowing you to fulfil your idea without having to use the prescribed maps that are provided by the big providers.

Note: all the maps included above are copyrighted by their respective owners, and are included here under fair dealing clause for comparison of their individual benefits.


          Interview of John Hobbie Roscoe by Brian Shoemaker        
Interview of John Hobbie Roscoe by Brian Shoemaker Roscoe, John Hobbie, 1919- John Roscoe, born in 1919, received an excellent education at Flushing High School in Syracuse, New York. He graduated from Syracuse University in 1940, and in 1941 earned a Master’s Degree there in Geography under George Cressy. His plans for pursuing a Ph.D. at UCLA in the field of cartography, with an emphasis on aerial photogrammetry and photo interpretation, were interrupted when he was urgently recruited to join the Intelligence Office for the Army Air Corps. He remained there until the spring of 1943 working as an interpreter of aerial photographs. He also wrote the manual for aerial photo interpretation, and was one of the very first persons to see the aerial photographs of damage to Pearl Harbor and Wake Island. In 1943 he was called to active military service as a Lieutenant in the Marine Corps. He continued his work as a photo interpreter at the Naval Photo Intelligence School. Later he was assigned to the European theatre of operations. He interpreted through aerial photographs the success of bombing raids in Germany, and he believed his team achieved a 99% success rate in interpretation. Soon after the war ended, Roscoe accepted an Associate Professorship in the Department of Geography at the University of Georgia, but before the first semester ended he was recalled to active duty. He was ordered to join Task Force 68 already on its way to Antarctica. He joined up with Admirals Byrd and Quackenbush in Panama. Roscoe was the only qualified photo interpreter on the expedition, named Operation Highjump. Byrd hoped to photomap as much of Antarctica as he could. Roscoe traveled aboard the command ship, the Mount Olympus, one of thirteen ships in the 5,000 man expedition. As they approached Antarctica they discovered that several hundred miles of the Ross Sea were completely blocked with solid floe ice. The submarine, the USS Stennet, was so badly damaged by ice that it had to return to Panama for repairs. The only two icebreakers on the expedition left temporarily to free the Stennet, and several ships, including the Mount Olympus were locked fast in the ice. Eventually all ships made it safely to an area of open water in the Ross Sea. Admiral Byrd flew into the base at Little America on the first plane. At the time, Byrd was at an advanced age, not well, retired from active service, and had no command. The two icebreakers, the USS Northwind, and the USS Edisto, had rejoined the expedition. Roscoe was a member of the initial landing party, a reconnaissance team, as it entered the abandoned base at Little America, established earlier by Byrd in 1939. The Seabees came next and carved a road through the ice ridges. Soon a tent camp was built, with five rows of ten four-man tents each. Each had a small pot bellied stove in the center. The mess hall was off to one side, and the airfield one-half mile away. Roscoe’s tent mates were Major Weir and Richard Byrd, Jr. Weir was head of the Marines that were flying. The Marines had two R4D aircraft; the Navy had four. One of the great difficulties in getting aerial films was because of the magnetic situation so close to the Pole it was difficult to interpret flight directions accurately. The compasses were off on the planes. For safety reasons two R4D aircraft flew together on photographic flights so that if one of them went down, the other could radio for a search team. All of the R4Ds and the American Mariners, flying boats, had trimetrigon film and camera settings. Another plane used to photograph wildlife and glacial formations was the OY-1, a small, single-engine aircraft. Admiral Byrd consulted Colonel Roscoe about planning photographic flights, and interpreting the films later on. Some twelve correspondents, representing radio networks and national newspapers, were on the mission. Although the relationship between Byrd and Roscoe was tumultuous at times, on the trip home at the end of the expedition, Byrd named Roscoe his envoy to the Prime Minister of New Zealand. Roscoe,along with the twelve correspondents, were all given an extensive tour of New Zealand. The expedition continued on to the United States. After the conclusion of Operation Highjump, Roscoe left the service, and worked in Navy Intelligence as a civilian. He worked for a time as the Navy representative to a military working group, the genesis of what in 1949 would become the Joint Staff of the military branches. Later he agreed to work as the Air Force representative on this committee. Roscoe returned to Antarctica the following year as a member of Operation Windmill, to map “control points.” These were needed to make accurate maps, and were points for which the exact latitude, longitude, and elevation had been determined. Two icebreakers, the Burton Island and the Edisto made the trip. Roscoe represented Naval Intelligence, but he went as a civilian. His principal responsibility was to interpret aerial photographs. He also constructed cairns holding metal claims markers (claiming certain territories for the United States) at various points along the coast, including Haswell Island, a penguin rookery, McMurdo Sound, and Victoria Land. He also landed on virtually inaccessible Peter the First Island. Here he collected a skua, and a Chinstrap penguin, both of which he later had stuffed. He also took home a female sled dog, who back in Washington gave birth to 16 pups. As a result of his work with aerial photographs he named several glacial ice floes. Roscoe also visited Little America, now covered with ice since the previous expedition, Operation Highjump. The rows of tents and the R4D aircraft were all buried in ice. One aircraft engine was dug out and it worked fine. Also a Weasel vehicle was chipped out of the ice and it also ran well. Once Operation Windmill concluded, Roscoe returned to duty with the Navy in Washington, D.C., and worked to assemble a bibliography on Antarctica that later was published. It categorized every expedition separately, including the old ones. As Operation Deepfreeze was being planned by Byrd and others, Roscoe, a civilian, was assigned by the Navy to work with Byrd. By then Roscoe and Byrd had developed a close working relationship. Byrd was a principal advisor in planning for the International Geophysical Year (IGY) in 1956-57. He returned to Antarctica in Deepfreeze I, but Roscoe did not, although he served as Byrd’s scientific and international affairs advisor. He made all the arrangements for the interchanges of people to send to foreign expeditions. In Washington he worked closely with Harry Dater, and Vi Malcolm, the last Commanders of the WAVES. Their office in Washington was in the Executive Office Building, next to the Blair House, and across the street from the White House. On his final trip to Antarctica, Operation Deepfreeze I, Byrd was accompanied to Antarctica by Paul Siple. Roscoe remained in Washington to run the office. Byrd became ill while there, cut short his trip, and after his return home he died in April, 1957. Shortly before the death of Admiral Byrd, Roscoe resigned from Civil Service and accepted an attractive position with the Lockheed Corporation. He designed the photographic system for the first American satellite. The Russians had just launched their Sputnik satellite. Roscoe never returned to the polar regions. He recalled various ways his polar experiences had affected his life. He found the Antarctic continent absolutely beautiful. It went beyond “black and white” colors since there were many shades of white, all of which Roscoe had learned to interpret as he studied aerial photographs. He also had become acutely aware of the dangers of the continent. He used the data he gathered there to earn his doctorate from the University of Maryland in 1952. His six-volume dissertation was on the morphology of the Antarctic continent. He used Operation Highjump photographs plus some others. He also edited a 5000-entry bibliography on the Antarctic in 16 languages. Roscoe also served as Vice President of the American Polar Society from 1957 until (at least) 2002 (the date of this interview). Roscoe continued to add to his impressive polar library, and suggested that he might be willing to donate it to the Byrd Polar Research Center. He suggested names from time to time for Antarctic features. He cooperated with publishers of such projects as Burrell’s Board of Place Names and Geographic Names of the Antarctic. He served on the Board of the Polar Times, and occasionally contributed to an article. A glacier was named for Roscoe. Since his retirement from Lockheed in 1982, Roscoe has developed an interest in history, and has done much reading and some research on the Crusades and the Knights Templar. He has also been an active member of the Masons. Major Topics Details about Operations Highjump, Windmill, and Deepfreeze in Antarctica Role of Admiral Richard Byrd in Antarctic explorations Pioneering role of Roscoe in interpreting aerial photography in Antarctica Personal and professional challenges in Antarctic exploration Contributions of various participants in Antarctic exploration Roscoe’s post-polar career at Lockheed and elsewhere Apfel, Earl, geologist, p. 51 Behrendt, John, member of IGY expedition, p. 55 Butters, [?], Captain USMC, pp. 63-64 Byrd, Admiral Richard, mentioned throughout Byrd, Richard, Jr. pp. 86-87 Chaney, [?], Admiral Byrd’s Chief of Staff, p. 36 Cox, Charles, p. 18 Cruzen, Richard, Admiral USN, p. 12 Darlington, Jenny, pp. 55-56 Dater, Henry “Harry”, pp. 74, 76-77, 91-92 Dufek, Admiral George, p. 88 Frazier, [?], deputy commander on the Burton Island, pp. 51, 53 Fuchs, Bunny, p. 110 Gooderham, pp. 12-13 Gould, Lawrence, Antarctic explorer, p. 65 Hillary, Sir Edmund, p. 111 Howard, August “Art”, founder of the American Polar Society, pp. 28, 112-14 Ketchum, Hank, commander of the icebreaker Burton Island, pp. 51, 53 Law, Phil, pp. 102-03 Lyon, Waldo, pp. 18-19 Mawson, Douglas, Australian polar explorer, pp. 101-02 Pearson, Drew, Newspaper columnist, pp. 45, 64 Peterson, Pete, physicist, pp. 55-56, 68-69 Quackenbush, Robert, Rear Admiral USN, p. 12 Ronne, Finn, explorer, pp. 54, 68 Ronne, Edith “Jackie,” wife of Finn, pp. 54-55 Shinn, Gus, pilot, pp 41-42 Shirley, Charles, chief photographer, p. 15 Siple, Paul, geographer, pp. 26, 36-37, 74, 76-77, 88, 112 Siple, Ruth, pp. 26-27 Sullivan, Walter, science writer, pp. 23, 25 Victor, Paul Emile, French pilot and explorer, pp. 75-76 Weir, [?], Major, pilot, pp. 35, 37, 64 Wilkins, Sir Hubert, polar explorer, pp. 19, 102
          Acteurs et Action        

Perspectives en didactiques de l'histoire et de la géographie


Édité par Jean-François Thémines, Sylvain Doussot, Presses universitaires de Caen



Résumé

Ancré dans le champ des didactiques de l'histoire et de la géographie, l'ouvrage analyse les situations d'enseignement-apprentissage par le prisme de l'action didactique. Il cherche à cerner les processus en jeu lorsque les professeurs proposent aux élèves des situations empreintes d’un certain degré d’incertitude, afin que ces derniers appréhendent la situation d’incertitude qui est celle des acteurs du monde.
La première partie éclaire l’action didactique à partir de l’appropriation par les élèves de situations qui leur sont proposées sur le mode de la rupture avec les fonctionnements classiques en histoire et en géographie. Centrée sur les professeurs, la deuxième partie en donne l’image d’un acteur incertain, loin de celle du meneur qui se jouerait aisément des contraintes. Et parmi ces incertitudes, celles qui sont produites par les élèves se révèlent les plus délicates à gérer, soulignant ainsi l’indissociable relation entre enseignement et apprentissage. La troisième partie souligne les difficultés à faire construire en géographie l'idée que les individus puissent être appréhendés comme des acteurs de la société dans laquelle ils vivent, alors même que l’usage du terme d'acteur s'est fortement répandu dans cet enseignement.
Articulant études de cas et synthèses, l'ouvrage engage à développer les recherches en didactiques de l'histoire et de la géographie, du côté des conditions de possibilité d'une prise de distance des acteurs, professeurs et élèves, avec les cultures disciplinaires scolaires.


Sommaire

Sylvain Doussot et Jean-François Thémines - Introduction. Les sciences sociales pour penser les acteurs dans les didactiques des sciences sociales
Les élèves et leurs ressources dans l'action
Anne Vézier - Le sens pratique, un outil heuristique dans l'apprentissage de l'écriture de l'histoire ?
Sophie Gaujal - Peut-on faire des élèves, via une démarche artistique, des acteurs / créateurs de l'espace qu'ils habitent ?
Médéric Briand - Approche sensible en sortie. Construire une relation au terrain en géographie scolaire à l’école élémentaire
Anne de Nadaï - La description géographique, un cheval de Troie de la géographicité sur le terrain des classes de lycée
Conclusion de la partie 1


Les enseignants, des acteurs contraints
Anna Zadora - Les acteurs de l’enseignement historique dans un contexte particulier : la Biélorussie
Nadine Fink - Demande sociétale et cristallisation identitaire à propos du passé dans les pratiques d’enseignement de l’histoire au Québec
Pierre Carion - Choix et postures professionnelles des enseignants face à une question socialement vive : ressources et supports de travail en classe sous influences
Catherine Souplet - Entre acteur et sujet de la visite scolaire dans un mémorial, regard didactique
Stanislas Hommet, Myriam Chasserieau et Charlotte Devaux -  La réception de l’espace Shoah du Mémorial de Caen. Conditions d’une appropriation en situation de visite
Thierry Philippot -  Espace(s) et activité didactique de l’enseignant dans l’enseignement-apprentissage de la géographie au cycle 3 de l’école primaire
Anne Glaudel-Serrière - Faire travailler les élèves en groupes en géographie à l’école élémentaire. Une « situation potentielle » de formation du futur citoyen ?
Conclusion de la partie 2


Étudier en classe les acteurs du monde
Caroline Leininger-Frézal et Catherine Carré -  La géographie scolaire : d’un tournant actoriel à l’autre ?
Magali Hardouin -  Géographie scolaire et cartographie des acteurs. Le cas de l’Union européenne, actrice de la mondialisation
Alain Pache, Philippe Hertig et Maria Brulé - Identifier et qualifier les acteurs et comprendre le ressort de leurs actions. Un passage obligé pour penser la complexité dans le contexte de l’éducation en vue du développement durable
Sylvie Considère et Olivia Liénart -  Des acteurs en cours de géographie ?
Conclusion de la partie 3


Jean-François Thémines -  Conclusion. Sur le seuil de l’incertitude dans l’action en didactiques des sciences sociales

Nicole Allieu-Mary - Postface. « L’acteur » et les didactiques de l’histoire, de la géographie et de l’éducation à la citoyenneté : inflexion paradigmatique ou objet inhérent à notre champ de recherche ?


Lien sur le site des Presses universitaires de Caen : http://www.lcdpu.fr/livre/?GCOI=27000100735220&fa=description


                  

Colloque international "La face cachée des cartes"

 
L’UMR GRED Gouvernance, Risque, Environnement, Développement (UPVM3/IRD), et plus précisément l’axe 4, transversal, « Modélisation et représentations spatiales pour l’aide à la décision en aménagement » propose un colloque international « La face cachée des cartes » les 18 et 19 décembre 2017, qui se déroulera à Montpellier - Auditorium site Saint Charles - Université Paul-Valéry - Montpellier 3.

« La face cachée des cartes » c’est tenter de mettre au grand jour l’incroyable nombre de réflexions, gestes et opérations « dissimulés », « non dits », véritables « boîtes noires », pourtant nécessaires à la réalisation de toute carte géographique.

Trois thèmes majeurs
- La face cachée de la conception, afin, non seulement de préciser la démarche, mais surtout d’approfondir la réflexion autour de la « face cachée » de toute construction cartographique;
- Le sens caché des cartes, conscient ou inconscient : axe structuré autour des différents processus menant à la production cartographique;
- Des cartes au service de finalités cachées : les cartographes sous influence ? Axe, davantage orienté vers les applications.

L’appel à participation propose de fournir des résumés de communication ou des résumés d’intentions de posters, pour le 29 mai 2017.

Toutes les informations sont disponibles sur le site de la rencontre :
https://cartocachee2017.sciencesconf.org/

Les actes de la rencontre seront publiés dans le numéro 236 - juin 2018 - de la revue Cartes et Géomatique du Comité Français de Cartographie : http://lecfc.fr/

          Les paradoxes des filières technologiques : raisonner, symbole d’abstraction, est-il possible dans les filières technologiques ?         

Florence Giry, agrégée d’histoire-géographie


Questionner la place du raisonnement géographique dans les filières technologiques nécessitent de comprendre la spécificité de ce cursus. Créées en France en 1968, les filières technologiques scolarisent 30% des élèves dans les domaines industriel (STI-STL), médico-social (SMS, puis ST2S), tertiaire (STT, STG, puis STMG). Elles diffèrent des séries générales par la place, à côté des enseignements généraux, de disciplines technologiques que les élèves découvrent à l’entrée de première et l’importance des travaux pratiques. Elles scolarisent des élèves, parfois orientés par défaut qui sont présentés comme « plus mûrs, plus près d’exercer leurs responsabilités, plus sensible à l’utilité immédiate et moins aux spéculations abstraites[1] Â».
La place de l’histoire-géographie, discipline générale du tronc commun y est de fait réduite par ses horaires ou encore par la faiblesse des coefficients de l’épreuve qui lui donne une place symbolique réduite. Elle a été néanmoins constamment réaffirmée, notamment après la rénovation en profondeur des séries technologiques de 2005 qui devait permettre le passage d’une qualification professionnelle précoce à une poursuite d’études plus longues. Les horaires ont été ainsi augmentés en STG-STGM (2 heures en première et en terminale), et ST2S où cet enseignement s’est mis en place en terminale à partir de 2007, alors même que la réforme du lycée a rendu un temps cette matière optionnelle en TS. Les modalités de son enseignement ont été aussi redéfinies à partir de 2005 avec deux temps clairement distingués, celui du sujet d’étude (deux ou trois au choix), et celui de la question qui correspond à un « développement général du thème Â», autour de notions et d’une approche problématisée.

La réécriture de ces programmes témoigne des interrogations de leurs concepteurs sur la légitimité d’un enseignement d’histoire-géographie en série technologique et des conditions de son efficacité, alors même qu’était introduit au même moment le socle commun des connaissances et compétences au collège (2006) et l’étude de cas, dans le programme de géographie de seconde (2001). Elle a alimenté une réflexion sur ce qu’est raisonner, et plus particulièrement raisonner en géographie, voire raisonner « géographiquement Â», car la discipline semble avoir du mal à se définir par rapport à l’histoire ou l’économie. Elle offre aussi des pistes originales, notamment dans les ressources pour la classe, pour mettre en œuvre ce raisonnement avec les élèves.

Raisonner en géographie, c’est d’abord promouvoir une « géographie utile Â», qui fait sens pour les élèves.
Les programmes sont particulièrement soucieux de montrer l’intérêt d’une discipline, présentée comme « une composante indispensable du projet de formation Â», et dont les programmes ne sont pas « une version réduite et allégée des programmes des séries générales Â», comme l’indiquent les ressources pour la classe des programmes de STG et ST2S de 2005 et 2007. C’est au regard d’un premier impératif, légitimer la place d’un enseignement que prend place, peut-être plus que dans d’autres séries, la définition d’un raisonnement en géographie.

Cette volonté conduit d’abord les concepteurs des programmes à définir ce qu’est la géographie, au regard de la discipline de référence, comme une « science synthétique de l’organisation de l’espace Â» (première STT en 1995), comme « l’étude des territoires et de l’organisation de l’espace Â» (STG 2005). Son enseignement est justifié par des finalités communes à l’ensemble des séries, précisées dans le document d’accompagnement des séries générales en 1995 : transmettre des savoirs, acquérir des méthodes d’analyse pour une formation intellectuelle, comprendre le monde contemporain et permettre l’insertion des élèves dans la cité. Les méthodes pour le programme de 1995, sont en elles-mêmes « Ã©ducatives Â», car en faisant de l’histoire et de la géographie, les «élèves apprennent le temps de la réflexion. Par l’exercice du raisonnement, toujours secondé par l’analyse critique, ils sont portés à relativiser une information rapide, conjoncturelle et non hiérarchisée Â» (BO terminale STT, 1995). Ces objectifs, présents dans les filières générales, ne concernent pas spécifiquement un raisonnement géographique, mais en géographie. Ils contribuent à une formation intellectuelle au sens large.
Les programmes des séries technologiques, étant donné la spécificité du public et la faiblesse des horaires, défendent plus particulièrement une géographie « utile, applicable, citoyenne directement en prise avec leurs activités et leur vie quotidiennes Â» (document d’accompagnement ST2S, 2007). Cette volonté se traduit par des objets d’étude au choix, « en fonction des objectifs, des intérêts de ses élèves, voire de l’actualité Â». La liberté de choix doit permettre de construire des études dans l’environnement local ou régional de l’élève, qui sont présentées comme facilitant la compréhension du sujet, notamment par des sorties sur le terrain. La démarche s’appuie aussi  sur les pratiques des élèves, leurs représentations sociales et certains sujets d’étude sont choisis en fonction de la spécificité des filières technologiques : la série ST2S introduit par exemple dès 2007, un sujet sur « Soigner en France, disparités et maillages Â», en lien avec leur cursus. Les ressources pour la classe présentent à plusieurs reprises ces objets comme « une question majeure de plus en plus sensible Â», pour Soigner en France, un « enjeu Â», à propos d’Un espace rural en déprise, un « sujet d’une brulante actualité Â», à propos de La gestion de l’eau par une agence de l’eau. Les ressources précisent aussi que le « nouveau programme est l’occasion de conduire une réflexion sur la façon dont les entrées géographiques apportent une contribution majeure à la compréhension et à l’intégration des enjeux du développement durable Â». Les documents d’accompagnement des séries STI-STL franchissent un nouveau pas en 2011 et évoquent par deux fois, des « questions vives Â».

L’analyse des bulletins officiels montre par ailleurs que la définition de ce qu’est la géographie est progressivement abandonnée : les programmes de 2011 pour les STI-STL, de 2012 pour les STMG et ST2S, ne mentionnent plus une définition de la discipline de référence, mais des éléments de culture géographique à transmettre. C’est la finalité civique qui l’emporte et l’apport de l’histoire et la géographie en termes de formation intellectuelle et de culture générale. L’éducation civique, jusque-là absente des séries technologiques est désormais inscrite dans le contenu des programmes. Elle est travaillée tant par les capacités et méthodes, dont les programmes soulignent qu’ils permettent une approche critique, que par les objets étudiés. L’introduction des ressources pour la classe des séries technologiques conclut ainsi sur « la dimension civique de l’enseignement d’histoire et géographie Â», où la réflexion sur les « valeurs, sur la responsabilité des acteurs est au cours des enseignements Â», en insistant sur « le développement de l’esprit critique Â», largement associé au raisonnement.

Raisonner en géographie, c’est aussi raisonner géographiquement.

Les ressources pour la classe multiplient, dans ces filières, les références à ce qu’est « une approche géographique Â», une « démarche géographique Â», « un raisonnement géographique Â», « une investigation géographique Â». Ils défendent ainsi deux entrées distinctes (un programme d’histoire Et géographie) comme ne procédant pas d’une « volonté de cloisonnement disciplinaire, mais au contraire du souci d’éclairer par deux regards complémentaires les quelques grandes questions relatives au monde Â» (ressources pour la classe du programme de STMG en 2005). Le programme de STL-STI de 2011 fait le choix d’avoir des entrées spécifiquement historiques, spécifiquement géographiques, mais aussi historique et géographique, par exemple pour la Chine depuis 1911. Même dans ce cas où les deux disciplines sont convoquées, le programme invite à « conjuguer les regards historiques et géographiques Â», à mobiliser en fonction des points à aborder les « outils, démarches et savoirs de l’une et l’autre des disciplines. Il souligne l’intérêt d’une approche presque géo-historique où « la dimension spatiale de la Chine, son immensité comme son aspect pluriel, constituent un élément essentiel de son appréhension et de sa compréhension Â».

Il semble donc exister une approche géographique et les ressources définissent, par différentes touches les contours de ce qui doit être le support d’un raisonnement géographique. Il s’agit d’abord un objet, « le territoire Â» (programme de STG de 2005) et d’un type de questionnement, l’étude de l’organisation du territoire, « l’analyse des faits qui caractérisent nos sociétés, en les abordant dans leur dimension spatiale Â». Il s’agit d’« inscrire dans l’espace des sociétés humaines les données sociales, économiques Â» (ressources pour la classe, ST2S), de comprendre le rôle des acteurs, mais aussi, comme le formulent les ressources pour la classe répondre à ce qui est « une interrogation éminemment géographique : pourquoi là et pas ailleurs ? Â». Cette démarche suppose une analyse multi scalaire, présentée comme « une des conditions nécessaire pour entreprendre une analyse réellement géographique (ressources pour la classe, terminale ST2S, 2008). Elle repose sur des outils spécifiques, la carte, ou l’entrée paysagère, spécificités de la démarche géographique précisées longuement dans les programmes. La cartographie reste le marqueur de l’activité géographique, la réalisation de cartes étant préconisées par les programmes alors même que ces dernières ne font pas l’objet, si ce n’est sous la forme de repérage pour les séries STMG et ST2S d’une évaluation spécifique au bac.

Ce raisonnement géographique s’inscrit dans la continuité d’un « raisonnement géographique acquis en classe de seconde Â», reposant sur l’étude de cas. La démarche préconisée est essentiellement inductive : à partir du sujet d’étude, donc d’un cas particulier, il s’agit de tirer des conclusions plus ou moins générales. Elle mobilise des opérations comme la comparaison, le sujet d’étude en géographie étant suivi d’une mise en perspective montrant les invariants géographiques ou au contrainte les spécificités du cas étudiés par rapport à d’autres.

D’autres formes de raisonnement sont utilisées. Le sujet d’étude peut être traité aussi en approfondissement, après la question. On lit à travers les verbes d’action employés, un raisonnement analytique, qui passe par les étapes de description, d’explication, puis mesure des conséquences. Enfin, les programmes se fondent sur un raisonnement causal : pourquoi là et pas ailleurs ?


Raisonner géographiquement, c’est mettre les élèves en situation de raisonner.
La spécificité des filières technologiques et la difficulté à y enseigner ont conduit les concepteurs des programmes à faire d’autres propositions. Les intentions sont clairement exprimées dans les introductions des programmes, qui défendent « les voies diverses pour que les élèves apprennent de l’histoire et de, la géographie et soient sensibilisées à leur démarche spécifique Â» (programme de STG et ST2S en 2005-2007), « la pluralité des voies qui permettent le questionnement et la découverte, l’apprentissage de l’histoire et de la géographie et la préparation à l’examen Â» (programmes de STL-STI, 2011, STMG-ST2S). Les programmes ont progressivement marqué leur distance avec une pédagogie fondée sur le cours dialogué pour proposer une démarche fondée sur une pédagogie socioconstructiviste critique.

Un des premiers enjeux est la place des sujets d’étude. Dès 1995, les ressources pour la classe défendent des « méthodes actives Â», « un effort de recherche personnelle pour les élèves Â», « le maniement des outils, la réalisation de dossiers, la traduction de la réflexion par la parole et par l’écrit Â». En 2005 en STG, les ressources évoquent un travail sur ensemble documentaire soulevant une « situation-problème Â», qui doit indure une opération de raisonnement, dans un contexte réel et une autonomisation du travail du lycéen. Elles esquissent presque une tâche complexe, en précisant que la démarche peut reproduire celle des TPE, et requiert « l’identification d’un objet d’étude précis, le partage des tâches pour la composition des éléments du dossier, et la présentation des travaux et des conclusions au groupe classe Â». Le travail de groupe, qui doit permettre la confrontation de points de vue, donc un engagement pour permettre le raisonnement, voire un conflit sociocognitif propice à la transformation des points de vue est ainsi largement préconisé. Les programmes, dès 2005-2007 préconise le débat, le jeu de rôle géographique, par lesquels les élèves deviennent acteurs et sont confrontés à tous les enjeux. Dans tous les cas, raisonner suppose d’être mis en activité et en situation de production et/ou Communication, qui est la seule façon de vérifier s’il y a eu ou non raisonnement. Les ressources pour la classe de 2012 vont plus loin, et évoquent l’idée d’une tâche complexe (5 mentions en STMG, deux mentions en ST2S). Cette dernière est présentée comme un travail de groupe, avec une consigne ouverte et contextualisée, nécessite un scénario pour susciter l’intérêt, mais ne doit rien de la démarche à suivre pour parvenir, le professeur proposant des coups de pouce. L’autonomie est présentée non pas comme un temps de travail solitaire, mais comme « la capacité à choisir Â», la « démarche pour remplir un objectif, le support de travail Â».

Le deuxième temps, celui de la question doit conduire à poser les bases dont les élèves ne disposeraient pas et ou mettre en perspective les éléments construits lors du sujet d’étude. Le professeur y « met en œuvre une démonstration Â». L’acquisition de repères, considérée comme centrale permet d’acquérir « l’intelligence de l’organisation des espaces géographiques Â». Les programmes des séries technologiques reste par ailleurs un des rares programmes organisés autour de notions alors que ces dernières ont disparus des programmes des séries générales après 2010. Elles sous-tendent une étude problématisée et non exhaustive des questions, aident à structurer la mémoire autour de ces concepts et sont le support d’un raisonnement par analogie. Le programme n’exclue pas, par ailleurs « l’ouverture aux problématiques de sciences humaines Â», ce qui prolonge la spécificité du programme de seconde, plus ouvert aux questions historiographiques et épistémologiques.

La mise en place de ces démarches est facilitée par la nature même des épreuves de bac, orales en STI-STL, écrites en STMG et ST2S, mais qui reposent sur les mêmes principes. La première partie se résume à des questions de cours où il faut caractériser, citer, justifier, localiser, proposer des dates-clefs ou des définitions. La deuxième partie de l’épreuve repose sur une étude de document qui doit « dégager l’apport d’un document à la connaissance d’une question au programmes, ou mettre en relation deux documents, pour en dégager les points communs, différences, oppositions ou complémentarités. Les opérations intellectuelles mobilisées sont ainsi clairement définies et ne reposent plus sur une restitution exhaustive des connaissances, mais sur une utilisation critique de ces dernières notamment dans l’épreuve sur document. La formulation a d’ailleurs été reprise dans les épreuves du bac des séries générales, les dernières insistant notamment sur la dimension critique.

Des prescriptions trop ambitieuses ?

Les programmes témoignent donc d’une réflexion sur la façon d’inciter à raisonner. Ils n’interrogent pas cependant suffisamment les voies avec lesquelles les élèves raisonnement : comme l’indique les ressources pour la classe des premières STMG, on les « invite à exercer leur raisonnement Â», à propos d’un exemple particulier. Les textes officiels se limitent d’ailleurs souvent aux raisonnements finalement canoniques, qui correspondent à des règles établies qui sont en général, celles des professeurs. Ils n’interrogent pas la part des raisonnements non canoniques, comme le raisonnement au quotidien, la part des émotions qui interviennent dans le déclenchement du raisonnement et dans son résultat, comme les stratégies de raisonnement pertinentes. La nature du raisonnement analogique n’est pas non plus prise en compte. Les activités métacognitives, permettant à l’élève d’exprimer la façon dont il a construit son raisonnement, d’expliquer ses choix et donc d’être en situation de les améliorer sont peu évoquées. Les capacités-méthodes des programmes du secondaire, évoquent par exemple dans « préparer et organiser travail de manière autonome Â», le fait de « prendre des notes, faire des fiches de révision Â», « mémoriser des cours Â» sans aller sur le terrain d’une réflexion dans laquelle des hypothèses sont construites et des moyens de les vérifier mis en place. Il s’agit tout au plus de « décrire et mettre en récit Â», « rédiger et argumenter en utilisant un vocabulaire spécifique Â».

La définition d’une tâche complexe reste floue, comme les moyens de la construire efficacement. Les ressources ainsi renvoient à des sites académiques supposés proposés des tâches complexes. La nature des opérations, permettant le passage d’une information extérieure à un savoir construit n’est ainsi jamais précisé, et le tableau des capacités-méthodes ne peut guère les y aider. Un des enjeux demeure aussi la place du professeur dans cette construction. Les ressources pour la classe des séries STG et ST2S de 2005 et 2007 présentent ainsi en le travail de l’enseignant comme central, « le traitement professoral étant indispensable en particulier lors des phases introductives et conclusives Â». C’est bien le professeur qui prend en charge la construction du problème et sa dévolution. Le modèle de la bonne leçon reste celui d’une leçon bien préparée, claire, précise où l’enseignant met à disposition un savoir logique qu’il a su adapter à ces élèves. La prédominance du « On » dans la formulation des programmes de 1995, encore présente dans les programmes de 2005-2008 témoigne d’une logique d’exposition dominante et souligne la difficulté à définir les raisonnements mis en œuvre : ainsi, « on proposera Â», « on présentera Â», « on illustrera Â», puis « on étudie Â», « on présente Â», « on souligne Â», « on montre Â», « on insiste Â», « on fait découvrir Â». Les questions de l’enseignant sont supposées faire émerger la réalité et l’interprétation « se donne comme un prolongement naturel de l’observation ou de la lecture (…). La compréhension est au bout de cette démarche empirique Â»[2]. La démarche obéit au principe de réalisme: « l’histoire et la géographie font comme si elles disaient la réalité du monde passé et présent. Elles font croire que cette réalité est directement appréhendable et compréhensible moyennant quelques procédures raisonnées. Elles effacent le rôle des langages et des points de vue dans la construction des textes historiens et géographes, qu’ils soient scientifiques et scolaires »[3]. En découle, dans les pratiques une forme de cours dominante, le magistral dialogué, intercalé d’exploitation de documents. Le document étaye le cours et devient un substitut de la réalité qu’il remplace.

Les programmes récents soulignent cependant une redéfinition du rôle du professeur. Le corpus documentaire est désormais « construit pour poser un problème Â», par exemple en première STL-STI. Les élèves semblent ainsi davantage associés à la construction de la démarche, avec des situations-problèmes qui sont concrètement proposées (par exemple amender un PDU, construire un débat sur une autoroute, établir une typologie avec les élèves des espaces en fonction de leur inégale intégration). Ces évolutions se heurtent cependant très nettement aux coutumes didactiques des enseignants et à la vision qu’ils ont de leur travail, transmettre des connaissances. Par ailleurs, la routinisation et l’artificialisation des pratiques en classe imposent ainsi de questionner quels sont les raisonnements attendus par les élèves et comment leur faire construire.


[1] Histoire-Géographie, classe terminale, CNDP, 2004.
[2]Nicole Lautier, A la rencontre de l’histoire, 1998.
[3]François Audigier, Histoire et géographie : des savoirs scolaires en question entre les définitions officielles et les constructions des élèves, 1995.


          Géographier aujourd’hui. Enseigner la géographie au collège et au lycée        

Sous la direction de Marie-Claire Robic et Muriel Rosemberg avec les contributions de Bertrand Pleven, Arnaud Brennetot, Julien Champigny, Guilhem Labinal, Caroline Leininger-Frézal, Didier Mendibil, Marielle Wastable



Nouvelle ressource pouvant accompagner la mise en place des nouveaux programmes de collège de 2015 mais pensée de manière plus large pour traiter de l’enseignement de la géographie en collège et en lycée, cette copieuse publication de 9 chapitres et plus de 300 pages s’adresse « aux jeunes (ou futurs) professeurs d’histoire et de géographie Â» avec l’ambition de leur proposer fondements théoriques et applications destinées au travail en classe.

Fruit du travail de dix rédacteurs, l’ouvrage s’ouvre sur une longue introduction visant à cerner les contours de la discipline, son insertion désormais actée dans le champ des sciences sociales, son regard renouvelé envers les questions naturelles depuis le glissement de l’étude de leurs faits vers les sciences de la vie et de la Terre. Conclusion intéressante de cette mise au point : des définitions par la négative qui permettent de sortir des clichés (pp 48-49).

Le cœur du livre décline de nombreuses façons de faire, des entrées thématiques mobilisant des supports commençant aujourd’hui à rentrer dans les usages : l’art, par exemple, permet d’évoquer avec le cinéma, la BD ou encore la littérature, les spatialités des individus au travers des narrations et des illustrations. On peut notamment y travailler des parcours d’individus comme cela est proposé très concrètement pour le roman policier « Total Kheops Â» de Jean-Claude Izzo (pp 133-134).

L’étude des supports s’approfondit lorsqu’il est question de s’interroger sur le « statut didactique particulier Â» (p 297) de certains d’entre eux : les documents d’aménagement (chap. 9, point II), les médias d’actualité (chap. 4, point I), les magazines de géographie « grand public Â» (chap. 4, point II). La déconstruction des discours produits par ces documents doit servir à l’apprentissage des représentations, de la confrontation des points de vue, de la (non) mise à distance. Autant de démarches qui contribuent à développer le regard critique de l’élève et à lui faire conquérir un peu plus son autonomie. Et il est ici bon de rappeler « qu’un document n’est jamais vraiment géographique en lui-même, il le devient sur la base des interrogations que l’on formule à son sujet Â» (p 161). Cela est d’autant plus important à souligner que ces documents trouvent généralement une place de choix dans les manuels. Ainsi la mise en page, le rapport texte-image, les cadrages photographiques sont loin d’être neutres dans la conception des outils destinés à l’élève. Des indicateurs d’analyse existent comme « l’imagement Â» (p 97) qui, sur la question des images, permet de cerner la part des illustrations dans les pages d’ouvrages, le choix des lieux, l’ordre de défilement et le lien avec le texte principal.

Le livre propose également un bel éclairage sur divers concepts de la discipline, notamment les composantes du raisonnement géographique : le modèle hypothético-déductif y est bien décortiqué (p 65), les systèmes complexes aussi (p 66). Le fait que la signification des concepts peut souvent renvoyer à un véritable flou artistique est abordé de manière originale avec l’étude des résultats d’une recherche de mots clés sur google images (chap. 5, point II) : le côté esthétisant des images proposées perturbe la donne, la comparaison avec la langue anglaise également. Le cas problématique du développement durable est bien épluché (chap. 9, point III) : notion ni scientifique, ni géographique mais bien politique, elle ne prend pas en compte les acteurs ni les interactions et fait intervenir des temporalités bien souvent non concordantes. Les trois piliers ne peuvent pas vraiment se concilier.

Le regard sur les textes des programmes est porté aussi avec une dimension analytique : le thème de l’aménagement montre qu’il n’est pas évident pour le législateur de trancher entre angélisme et fatalisme (pp 286-287), entre une vision prescriptive et une vision plus engagée. Plus qu’un obstacle, il y a là une occasion de répondre au « défi pédagogique Â» posé par cette entrée : en étudiant différents scénarios, différents choix, on peut travailler l’étude de l’écart entre les objectifs affirmés d’une stratégie et les arbitrages de terrain. La lecture globale des textes officiels sert également à montrer qu’un objet d’étude peut prendre des acceptions très variées selon les différentes parties du programme dans lesquelles il se situe : cas du développement durable en 5ème (acception faible) et en 2nde (acception forte).

Enfin, le dernier apport majeur de l’ouvrage tient à la prise en compte de la progressivité des apprentissages. C’est sans doute ce point qui rend le mieux hommage au sous-titre du livre souhaitant faire le lien entre le collège et le lycée. Cette façon de procéder est abordée sur le thème de la ville (chap. 6, point II) mais réellement détaillée avec minutie sur la question cartographique (chap. 2, point II). Et on ne boudera pas son plaisir au sujet des quelques incursions dans le monde du primaire qui, désormais se raccroche au collège par le biais du cycle 3 : ici, c’est même à l’échelle de la jonction cycle 1 et cycle 2 qu’un paradoxe important est soulevé : « les élèves de maternelle sont de fait mobiles, c’est ensuite en cycle 2, alors que cette mobilité est plus réduite, qu’on leur donne les « clés Â» de l’espace Â» (p 73). De quoi réinterroger sérieusement le statut du déplacement dans les classes et à l’extérieur des établissements.

Des apports solides donc sur les questions des concepts, des supports, des programmes et des progressions. Toutefois, on pourra regretter un certain déséquilibre dans le poids des chapitres, notamment un très maigre volet sur la France des marges (question pourtant apparue au programme du CAPES et de l’agrégation) et certains points dont l’exploitation en classe n’est pas proposée comme c’est le cas souvent ailleurs. L’équipe composite montre également des degrés différents de connaissance du monde scolaire et de ses réalités, ce qui dessert également un peu la cohérence générale du texte tout comme le fait que certaines plumes s’avèrent très exigeantes alors que le texte, rappelons-le, s’adresse prioritairement aux novices. Ceci étant, rien n’empêche aux enseignants confirmés et aux formateurs de s’y plonger et d’y prélever la riche matière qui s’y trouve pour y géographier le monde d’aujourd’hui et de demain.  


          Enseigner la France des marges, lecture croisée        
Dans le cadre de la question au programme du capes et de l'agrégation sur la France des marges, deux textes parus en octobre 2016, écrit l’un par Caroline Leininger et publié chez Armand Colin, l’autre par Sophie Toulajian et publié chez Atlande, nous permettent d’aborder la question de leur enseignement. L’un comme l’autre partent du même constat, celui de la place marginale occupée par les marges dans les programmes. Rarement identifiées en tant que telles, elles y sont traitées de manière transversale sous la forme d’objets géographiques variés que recensent les deux textes sous la forme d'un tableau synoptique. Pour les deux auteurs, cela peut s’expliquer par la difficulté que pose leur enseignement des marges, caractérisées comme une question socialement vive, dans une discipline scolaire qui se caractérise justement par son refus du débat, et son souci de présenter au contraire un contenu réaliste, consensuel (Audigier, 1993).

Les deux textes se distinguent cependant par l’angle qu’ils privilégient : alors que le texte de Caroline Leininger fait le point sur les pratiques existantes, en décalage avec la géographie scientifique, celui de Sophie Toulajian trace des possibles, et montre les ponts qu’il est possible de jeter entre la géographie scolaire et la discipline de référence.

Caroline Leininger met ainsi en évidence l’écart qu’il y a entre la notion scientifique des marges et les marges telles qu’elles sont enseignées à l’école. Ce décalage n’est pas propre à cette notion en particulier, mais concerne toute notion scientifique en prise avec le processus de « transposition didactique Â» (Chevallard, 1991). La géographie enseignée à l’école est en effet le résultat de traductions successives par les concepteurs de programme, par les rédacteurs de manuel et par les enseignants, sous l’effet d’enjeux de différentes natures, cognitifs mais aussi sociaux, comme l’illustre le schéma qui accompagne le texte. S’appuyant sur un corpus constitué des textes officiels du programme, des fiches Eduscolet de l’analyse de 22 manuels scolaires, l’auteure a suivi l’évolution de la notion de marges tout au long de ce processus, ce qui lui permet de caractériser la notion de marges telle qu’elle est enseignée aujourd’hui autour de quatre points. Tout d’abord, des différents courants épistémologiques qui traversent la géographie et qui traitent de la question de la marge, c’est l’analyse spatiale qui est privilégiée par les programmes, et la classique opposition centre-périphérie, ou encore au travers de la notion de « discontinuités Â». Ensuite, la lecture proposée est davantage sociale que spatiale, le terme récurrent dans les programmes et les fiches Eduscol étant le terme « inégalités Â», comme le montre la deuxième figure, sous forme d’un nuage de mots. A la configuration spatiale de marge est ainsi préférée l’étude des inégalités économiques et sociales (chômage, pauvreté), relevant davantage des SES (Sciences Economiques et Sociales) que de la géographie. Par ailleurs, lorsqu’elle est abordée sous un angle plus spécifiquement spatial, l’accent est davantage mis sur les solutions que sur les problèmes, mettant en valeur l’aménagement des territoires : la notion de marges n’est le plus souvent abordée que sous l’angle de l’aménagement. Enfin, les espaces étudiés comme des marges se situent la plupart du temps ailleurs (hors de France).  Sur les 15 espaces étudiés dans les manuels comme des marges, seuls 3 se situent en France, s’inscrivant ainsi dans la longue tradition de la géographie scolaire qui a longtemps consisté à légitimer la cohérence du territoire français.

Sophie Toulajian liste quant à elle les possibles, qu’on perçoit en creux dans le texte de Caroline Leininger. Le parti pris apparaît dès le début du texte, dans lequel l’auteure rappelle la part d’autonomie qu’ont les enseignants dans l’élaboration du savoir, et qui leur permet de faire un pas de côté par rapport aux pratiques majoritaires. Elle voit dans la mise au programme des concours de cette question des marges une opportunité pour les futurs enseignants d’introduire dans les pratiques une épistémologie renouvelée, moins empreinte d’analyse spatiale et de logique économique libérale et davantage tournée vers une géographie sociale. Au terme d’un développement qui permet d’identifier les endroits du programme dans lesquels il est possible de se saisir de cette question, et accompagnée d’un tableau et de deux schémas, Sophie Toulajian propose quatre manières possibles d’enseigner cette question, en partant de la géographie spontanée, c’est à dire de l’expérience que peuvent avoir des élèves de la marge, et ses représentations. Première proposition, analyser avec les élèves les représentations véhiculées par le cinéma sur les territoires de la marge. Deuxième proposition, s’intéresser à la représentation de leur territoire par les acteurs de la marge (les marginaux), telles qu’elles ont pu être relevées dans certains travaux récents (Mekjian, 2015). Troisième proposition, proposer aux élèves de travailler sur leur propre usage de l’espace, par exemple celui du lycée, pour y identifier des marges, voire tenter d’agir dessus, afin “d’inverser les polarités” (Gaujal, 2016). Dernière proposition enfin, organiser avec les élèves un débat sur la thématique de la marginalité. 

Au final, en se positionnant à deux moments du curriculum, les deux textes sont complémentaires. De plus, l’un et l’autre, au fait des recherches récentes en épistémologie et en didactique de la géographie, donnent l’occasion au lecteur, au travers de cette question des marges, de se familiariser avec leur lexique, grâce à la définition de termes comme analyse spatiale, transposition didactique, savoir savant, savoir scolaire, géographie scolaire, question socialement vive, géographie spontanée. 


Références des deux textes
Toulajian, S. (2016), Enseigner la France des marges, in La France des marges, dir. R. Woessner, Atlande concours.
Leininger, C. (2016), Enseigner la France des marges, in La France des marges, dir. Grésillon E., Alexandre F., Sajaloli, B., Armand Colin (lire le chapitre introductif)

Références citées dans cet article
Audigier, F. (1993). Les représentations que les élèves ont de l’histoire et de la géographie. A la recherche des modèles disciplinaires entre leur définition par l’institution et leur appropriation par les élèves. Université de Paris VII.
Chevallard, Y. (1992). Concepts fondamentaux de la didactique : perspectives apportées par une approche anthropologique, Recherches en didactique des mathématiques, vol. 12, no 1, pp. 73-112.
Gaujal, S. (2016), « Peut-on faire des élèves, via une démarche artistique, des acteurs / créateurs de l'espace qu'ils habitent ? », in Thémines, J.F. & Doussot, S. (dir.), “Acteurs et action. Perspectives en didactiques de l’histoire et de la géographie” sous la direction de, Caen, Presses Universitaires de Caen.
Mekdjian, S. & Amilhat Szary A-L (2015), "Cartographie, traverses, des espaces où on ne finit jamais d'arriver", Programme EUBorderscapes, fev 2015, Université de Grenoble.


          Towards a new cultural cartography – Part 2: Afternoon session and Q&A        
Audio recording of a past Tate modern conference panel discussion about Sharjah Biennial 11.
          Towards a new cultural cartography – Part 1: Introduction and morning session        
Audio recording of a past Tate modern conference panel discussion about Sharjah Biennial 11.
          Geology Library digital New Book Shelf Autumn Semester 2016        
Environmental geography of South Asia : contributions toward a future Earth initiative Historic towns : maps and plans of towns and cities in the British Isles with historical commentaries : from earliest times to 1800 Lunar and planetary cartography in Russia Seafloor mapping along continental shelves : research and techniques for visualizing benthic environments Potentiometric […]
          Using SCT announcement - Indeed I can : ...        
Indeed I can : ActionBarSaver, v$Revision$ AHDND, v1.10 ArenaUnitFrames Atlas, v1.11.0 AtlasBattlegrounds, v1.11.0 AtlasBattlegrounds, v1.10.3 AtlasDungeonLocs, v1.11.0 AtlasDungeonLocs, v1.10.3 AtlasEntrances, v1.10.3 AtlasEntrances, v1.11.0 AtlasFlightPaths, v1.10.3 AtlasFlightPaths, v1.11.0 AtlasOutdoorRaids, v1.10.3 AtlasOutdoorRaids, v1.11.0 AtlasLoot, vAtlasLoot Enhanced v4.04.01 AtlasQuest, vAtlasQuest 4.1.1 AucAdvanced, v5.0.PRE.3024 AucFilterBasic, v5.0.PRE.3024 (BillyGoat) AucMatchUndercut, v5.0.PRE.2469 (BillyGoat) AucStatClassic, v5.0.PRE.3024 (BillyGoat) AucStatPurchased, v5.0.PRE.3024 (BillyGoat) AucStatSimple, v5.0.PRE.3024 (BillyGoat) AucStatStdDev, v5.0.PRE.3024 (BillyGoat) aucutilbasicfilter, v5.0.PRE.2200 (BillyGoat) BankItems, v24000 Bartender3, v3.1.2 r68497 BeanCounter, v5.0.PRE.3024 (BillyGoat) BetterItemCount, v1.1 BonusScanner, v3.1 Cartographer, vr70419 CartographerCleanup, v1.0 CartographerData, v1.0 CartographerHerbalism, v1.0 CartographerMailboxes, v1.0 CartographerMining, v1.0 CartographerTrainers, v1.0 CartographerVendors, v1.0 CartographerQuestInfo, v1.9.20 CartographerFishing, v1.0 CartographerIcons, v1.0 CartographerIconsCtMapModPack, v1.0 CartographerIconsGathererPack, v1.0 CartographerIconsMetaMapPack, v1.0 CartographerImport, v1.0 CartographerNoteshare, v1.0 CartographerNoteTarget, v0.3 CartographerQuestObjectives, v0.9b CartographerQuests, v0.2 CartographerQuicknotes, v0.1 CartographerRoutes, v1.0 CartographerStats, v1.0 CartographerTreasure, v1.0 ChatFrameExtender, v2.0 ChatSettingsFix, v2.4.1.3 Chronos, v2.11 ClearFont2, v2.4 CowTip, vr68121 CTBuffMod, v2.4 (CTMod 2.0) CTCore, v2.401 (CTMod 2.0) CTExpenseHistory, v2.4 (CTMod 2.0) CTMailMod, v3.02 (CTMod 2.0) DamnCombatLog, v$Revision: 599 $ DamnQuestIcons, v$Revision$ DetachedMiniButtons, v0.9.41 FlightMap, v2.4-1 eCastingBar Enchantrix, v5.0.PRE.3024 EnchantrixBarker, v5.0.PRE.3024 (BillyGoat) EnhTooltip, v5.0.PRE.3024 EquipCompare, v2.11 FishingBuddy, v0.9.4e FBOutfitDisplayFrame, v0.9.4 FBTrackingFrame, v0.9.4d FBMergeDatabase, v0.9.4c ForteWarlock FreierGeistInstanceTime FuBarAlchemyFu FuBarArenaFu, v0.8 FuBarAssistFu, v3.0 FuBarBagFu, v2.0 BankItemsFu, vv20003 FuBarBattlegroundFu, v2.0 FuBarClockFu, v3.0 FuBarCraftTimersFu FuBarCTFu, v2.3.01 FuBarDurabilityFu, v2.0 FuBarExitFu, v1.1 FuBarExperienceFu, v1.1 $Revision: 65606 $ FuBarFactionsFu, v2.2 FuBarFarmerFu, v2.0.$Revision: 63418 $ FuBarFishingBuddyFu, v2.2a FuBarFriendsFu, v2.4 FuBarHonorFu, v2.0 FuBarLocationFu, v3.0 FuBarMailFu, v2.0 FuBarMoneyFu, v20000-1 FuBarPerformanceFu, v2.0 FuBarProfessionsFu, v1.5.1 FuBarPTReagentFu, v3.1 FuBarPvpFu, v0.5.2 FuBarRecZone, v2.0.$Revision: 71011 $ FuBarRecountFu, v3.4 FuBarSpeedFu, v2.0.$Revision: 55081 $ FuBarThreatFu, v1.0 FuBarVolumeFu, v2.0.$Revision: 55081 $ FuBarWorldPVPFu, v1.0 FuBarXPerlFu, v0.2 FuBar, v60201 FuTextures, v2.0 GearDPS, v0.63 GhostCDP, v1.31 Informant, v5.0.PRE.3024 ItemRack Ace2 Babble22, v2.2.$Revision: 66632 $ DewdropLib FuBarPlugin20, v2.0 $Revision: 66634 $ SharedMediaLib, v1.0 LibSharedMedia20 TabletLib Threat10, v2.1 LightHeaded, v230 MobInfo2, v3.60 NoBoPWarning nQuestLog, v1.0 r71032 OgriLazy, v1.0.7 Omen, vOmen r71071 / Threat-2.0 r71227 OmniCC, v2.0.7 OneBag, v2.0.67228 OneRing, v2.0.55081 Postman, v2.0.53232 ProfessionsBook, v2.1.8 PvPMessages, v1.5 RatingBuster, v1.3.7 (r70016) Recount, v71513 Reputation, v1.0 ReURL sct, v6.1 sctd, v3.01 SilverDragon, v2.0.65654 simpleMinimap, v20100-6 Skillet, v1.10-61015 Skinner, v2.4 SSPVP2, v$Revision: 595 $ Stubby, v52 Swatter, v5.0.PRE.3024 TrinketMenu TuringTest, v1.4 VendorBait, v2.0.3.394 WowheadLooter, v20403 XPerlArcaneBar XPerlParty XPerlPartyPet XPerlPlayerBuffs XPerlPlayer XPerlPlayerPet XPerlRaidAdmin XPerlRaidHelper XPerlRaidMonitor XPerlRaidPets XPerlRaidFrames XPerlTarget XPerlTargetTarget XPerl, v2.4.2 XLoot, v0.9 DBMAPIHope it's not too long a list!- Pseudopath.(Interface: Ghost: Pulse | Bug: Using SCT announcement)
          RELEASE | Christie's | Ex Libris Jean R. Perrette: Important Travel, Exploration, and Cartography | April 5, 2016        
Release date: 3/16/2016
          La cartographie des grandes banques internationales        



Le FSB, le Financial Stability Board, vient de publier une liste actualisée des 28 grandes banques internationales qui font courir un risque systémique. A ce titre ces banques, au delà du tier 1 minimum de 7%, sont soumis à un ratio majoré, la dite majoration allant de 1 à 2.5%. A vrai dire, ceci, qui doit s'appliquer en 2016, ne sera pas très contraignant. En effet l'Autorité Bancaire Européenne à imposé un ratio tier 1 minimum, non pas de 7% (le minimum Bâle 3), mais de 9%. Au Royaume Uni le minimum a été porté à 10 % et il est encore plus élevé en Suisse.
Le sélection ainsi opérée dresse la cartographie des grandes banques internationales aujourd'hui.La hiérarchie établie ne dépend pas de la taille mais de "la dangerosité" systématique, largement fonction de l'implication des différentes banques dans les activités de marchés.

          2017-2018 年度澳洲技术移民sol职业类别及配额完成情况记录 Occupation ceilings for the 2017-18 programme year        

移民部已经更新数据,首先是 2621 ICT安全专家 职业配额发布了,共 2391 个,截止到2017年7月26日邀请,总共邀请了1个。

其次是之前显示邀请数减少的职业数据调整正常了。

7.26次邀请后澳大利亚技术移民 SOL 职业(189+489亲属)配额完成情况数据有误,现在官方更新,飞出国也已经整理到网站,下表是飞出国整理的按照邀请人数由多到少的职业列表。

代码 职业名称 - 飞出国 17-18配额 7.26次邀请 剩余配额
2613 软件和应用程序的程序员/Software and Applications Programmers* 6202 310 5582
2211 会计师/Accountants* 4785 239 4307
2335 工业,机械和生产工程师/Industrial, Mechanical and Production Engineers* 2178 108 1962
2611 ICT业务和系统分析师/ICT Business and Systems Analysts* 1574 78 1418
2212 审计,公司秘书及企业司库/Auditors, Company Secretaries and Corporate Treasurers* 1327 66 1195
2631 计算机网络专业人士/Computer Network Professionals* 1318 65 1188
2334 电子工程师/Electronics Engineers* 1000 50 900
2339 其他工程师/Other Engineering Professionals* 1000 50 900
2544 注册护士/Registered Nurses 16741 31 16692
2332 土木工程专业/Civil Engineering Professionals 3296 18 3267
2539 其他医生/Other Medical Practitioners 1000 9 986
1331 建筑业经理/Construction Managers 5400 7 5388
2633 通信工程专业/Telecommunications Engineering Professionals 1000 7 970
2414 中学教师/Secondary School Teachers 7910 6 7901
2531 全科执业/General Practitioners and Resident Medical officers 3495 6 3486
2333 电气工程师/Electrical Engineers 1042 5 1029
2331 化学工程与材料工程师/Chemical and Materials Engineers 1000 4 993
2341 农林科学家/Agricultural and Forestry Scientists 1000 4 994
2346 医学实验室科学家/Medical Laboratory Scientists 1487 3 1484
2349 其他自然和物理科学专业人员/Other Natural and Physical Science Professionals 1000 3 995
2524 职业治疗师/Occupational Therapists 1109 3 1105
2713 律师/Solicitors 4161 3 4155
2725 社会工作者/Social Workers 1562 3 1545
2245 土地经济学家和估价师/Land Economists and Valuers 1000 2 998
2312 验船师/Marine Transport Professionals 1000 2 998
2321 建筑师和景观设计师/Architects and Landscape Architects 1474 2 1469
2411 幼儿教育(学前教育)教师/Early Childhood (Pre-primary School) Teachers 2639 2 2635
2512 医学影像专业人员/Medical Imaging Professionals 1113 2 1110
2525 物理治疗师/Physiotherapists 1464 2 1462
3123 电气工程及其起草者技术员/Electrical Engineering Draftspersons and Technicians 1000 2 996
3132 电信技术专家/Telecommunications Technical Specialists 1000 2 997
3212 电机机械/Motor Mechanics 5980 2 5975
3312 木匠细木工/Carpenters and Joiners 6968 2 6965
3411 电工/Electricians 9354 2 9352
3423 电子业职工/Electronics Trades Workers 1878 2 1875
3513 厨师/Chefs 2675 2 2672
1332 工程经理/Engineering Managers 1155 1 1154
1342 卫生和福利服务经理/Health and Welfare Services Managers 1374 1 1372
2322 制图师和测量师/Cartographers and Surveyors 1000 1 998
2527 演讲专家和听力学家/Speech Professionals and Audiologists 1000 1 999
2723 心理学家/Psychologists 1750 1 1748
3223 结构钢和焊接业职工/Structural Steel and Welding Trades Workers 4426 1 4424
3322 涂装业职工/Painting Trades Workers 2780 1 2778
2621 ICT安全专家/Database and Systems Administrators and ICT Security Specialists 2391 1 2390

http://vac.fcgvisa.com/gsm/2017/07/26/SOL-Ceillings/

受限职业推进情况上次的是正确的。

代码 邀请数量受限职业 - 飞出国 邀请分 邀请人数 邀请截止时间
2211 会计师/Accountants 75 239 26/05/2017 1:34 pm
2212 审计,公司秘书及企业司库/Auditors, Company Secretaries and Corporate Treasurers 75 66 6/05/2017 10.17 am
2334 电子工程师/Electronics Engineer 70 50 14/7/2017 8.33 pm
2335 工业,机械和生产工程师/Industrial, Mechanical and Production Engineers 70 108 15/07/2017 12.40 am
2339 其他工程师/Other Engineering Professionals 70 50 6/06/2017 12.27 am
2611 ICT业务和系统分析师/ICT Business and System Analysts 75 78 25/07/2017 5.15 pm
2613 软件和应用程序的程序员/Software and Applications Programmers 70 310 23/06/2017 10.47 am
2631 计算机网络专业人士/Computer Network Professionals 70 65 27/06/2017 12.03 am

http://vac.fcgvisa.com/SOL/

需要获得相关移民及出国签证申请帮助可以联系飞出国微信(fcg-flyabroad): http://flyabroad.me。

以上内容由飞出国出入境服务(flyabroad.io)独家整理完成,请尊重知识产权,转载请保留并注明出处。


          Comment on Android users make their feelings clear about Apple products through the medium of cartography by Werner        
<p>Well, it's gone already.</p>
          Mapas        

Siempre me han gustado los mapas de los juegos de rol. Los mapas antiguos, en general. Esos en los que todo está dibujado a mano. Pero dada mi falta de herramientas y talento, nunca intenté hacer nada parecido.

Hace unos meses me compré una tableta gráfica Bamboo Fun (6x8 pulgadas). Coincidió con el descubrimiento de l foro de Cartographers Guild. Y me animé a probar.

Les ahorraré mis primeros intentos. Estoy acabando el primero que me atrevo a enseñar, Praathamika:

Si pinchan ahí, saldrá la imagen "grande": 3000x3000, casi 1MB de jpeg. Hay una versión en PNG (3MB) que pueden descargar pinchando aquí.

Los nombres son ridículos (y uno tiene un bug; se ve bastante claro si se fijan, un error con Inkscape), hay muchas incongruencias climáticas (por ejemplo, que no haya un polo norte de hielo marino) y la calidad artística ... bueno ... eche o que hai. Pero estoy muy contento del resultado. Estoy bastante animado, y haré más de éstos con lo que aprendí (sobre todo, por todos los errores que cometí).

Espero que les guste.


          Cypraea mappa – The Mollusc Cartographer        
Cyprea (Cowry) Shells from Thesaurus Conchyliorum – G.B Sowerby (Cyprea mappa shown in center) Remi Rorschach, one of a few dozen or so characters in George Perec’s immensely complex and ingeniously constrained masterpiece ‘Life a Users Manual’, has a series of seemingly incongruous occupations –  first a clown and circus manager, then an international shell […]
          Langurs, Maps, The Female Gaze and Excuses..        
I am the lamest blogger ever. I've been doing exciting things, though, and I'm going to try to get back to this more regularly. Today I went to go see The Female Gaze: Women Artists Making Their World show at the Pennsylvania Academy of Fine Arts. It's an incredibly lush, wonderfully varied show, and it's full of people I've never heard of who are making knockout work, as well as great pieces from the great old standards. There are several really incredible Judith Scheacter pieces, but that's just a fraction of what there is- there are so many great paintings and prints in this show that I can't begin to talk about them all. Just go see it. It's great. It was curated by the amazing Robert Cozzolino, who is one of the few men I'd trust to curate a show with this title. The work is so varied that the "Female Gaze" part seems ironic almost immediately, but as you move through the show it contradicts that feeling of irony because the work does address themes that are particularly relevant to women artists. It's a rich world in there, and the number of people who obviously should be getting more attention than they've gotten is huge.

There's also a fabulous painting by Patricia Traub called "A Steward of the Douc Langur." I can't find an image of it online, but her website has lots of great stuff including this one, The Caregivers, which shows a langur on the right side.


Patricia Traub teaches at PAFA, as does Judith Schaecter, but I've never met her. Philadelphia is small enough that this seems odd to me, especially because I am absolutely sure I've met the douc langur that's in the painting. His name, I think, is Duke, and he lives at the Philadelphia zoo, where he seduces every single person who looks at him with his beautiful languid langur eyes. Or, well, maybe all douc langurs do that. Could be.



This piece below is based on a map called The Map of Tenderness that you can read more about in this excellent article in the Atlantic about mapping the self. It's got a ton of fabulous images of old weird maps of unmappable things, which I always love.




PAFA has a pretty good website filled with images from the show, but I think we all need to get the catalog. There was so much great stuff that I was running around the show with my camera, taking pictures of work I loved and names I wanted to find out more about. All of which I want to write about...but this is why I don't blog regularly. I'm too complete. I want to put in all the details of everything, just like I do in my paintings, and I don't have the time to do that in more than one medium. So let me just say- go see the show!

Also, my last post was written just before I went out to Firecat Projects to hang my show last summer. It was a wonderful show. Stan Klein, who runs the gallery with the help of his dog crew Ella, Bella and the Other Fella, is a wonderful, generous guy, and the whole trip was incredibly inspiring and nice. My show was sponsored by a very shy, sweet art supporter named Stewart Wagner, and everyone I met at Firecat was amazing and delightful. The  Chicago art scene- at least the art scene at Firecat, seemed extraordinarily supportive. I met so many people I'd love to see more of, and I reconnected with people I hadn't seen in ages who made me think that if I do nothing else well in life I'm at least good at picking excellent friends.

I've made some new pieces that I will post soon. I'm making breakthroughs in the studio that I'm really excited about, which is part of why I haven't stopped to blog, but I will be posting those new images any minute now...I'm working bigger, better and stripey-er than ever before...
          James Cook        
James Cookfenadminuser Thu, 09/03/2009 - 14:31 Explorer / Navigator

Born: 27 October 1728
Died: 14 February 1779
Birthplace: Marton, England
Best known as: English explorer of the Pacific in the 1770s

Captain James Cook was an English naval explorer whose expeditions in the 1770s charted much of the lands of the Pacific, including New Zealand, Australia and Hawaii. The son of an agricultural worker, Cook was apprenticed to shipbuilders and joined the navy in 1755. He became a master seaman in 1759 and spent most of the next decade surveying around Newfoundland and Labrador. He commanded the Endeavor on his first trip to the Pacific, an expedition to observe Venus for the Royal Society (1768-71). On his return trip he circumnavigated New Zealand, charted the eastern coast of Australia and returned by way of Java and the Cape of Good Hope. His second voyage to the Pacific, commanding the Resolution and the Adventure, took Cook along the northern edge of Antarctica and helped him outline the southern hemisphere; in three years (1772-75) he lost only one crew member. His third and final voyage (1776-79) was an effort to find a passage across the northern part of America. After he was forced to turn back at the Bering Strait, he reached Hawaii in January of 1779. A dispute at Kealakekua Bay (over a stolen boat) ended with Cook dead, apparently at the hands of the islanders. Considered one of the first navigators of the scientific era, Cook's expeditions made him the most famous naval explorer since Ferdinand Magellan.

Extra credit: Credit for the safety of his crew is due in part to Cook's faith in physician James Lind's theory that citrus fruit could prevent scurvy... There are fifteen islands northeast of New Zealand known as the Cook Islands, but they weren't discovered by Cook. Polynesians were there around 800 and Spaniards were there in the late 16th century. Cook was there in 1773 and dubbed them the Hervey Islands. A Russian cartographer renamed them the Cook Islands in the early part of the 1800s, and the name stuck... Benjamin Franklin admired Cook so much he offered the navigator a "passport" for safe passage during the Revolutionary War, but by that time Cook had already been killed in Hawaii.

Copyright © 1998-2006 by Who2?, LLC. All rights reserved.

Extension Activities

Brief Descriptions
Read a biography of James Cook to learn more about this English explorer of the Pacific.
Grade Level From/To
Internal Notes
for TV AU calendar; http://www.infoplease.com/biography/var/jamescook.html
Lesson ID
64087
Lesson Modified Date
List Page Source
50961
Premium Page
Premium Page
Sections:

Social Studies

Social Studies
section value
socstud
Subscribers Only
Subscribers Only
Source Node

          Remontez le temps avec les cartes interactives de l’IGN        

Géoportail, le service de cartographie en ligne de l’IGN lancé en grande pompe il y a un peu plus de 10 ans, offre également un service permettant de comparer cartes et photos aériennes, récentes ou plus anciennes. Une ballade temporelle sans quitter votre fauteuil, entièrement depuis le navigateur web. Géoportail : les données de référence […]

Remontez le temps avec les cartes interactives de l’IGN
est un article original du blog Le Newbie.
Vous pouvez aussi me retrouver sur Google+, Twitter ou Facebook pour d'autres infos.


          Y a-t-il des bulles informationnelles dans la campagne présidentielle ?        
Y a-t-il des bulles informationnelles dans la campagne présidentielle ?

 Les élections américaines ont beaucoup parlé des bulles informationnelles. Les réseaux sociaux nous enfermeraient dans des communautés informationnelles dans lequel on tombe petit à petit. Il était donc très intéressant de faire l’exercice sur Twitter, le réseau social où par définition, on peut suivre n’importe qui, et où il n’y a pas d’algorithme de timeline. Analyse via Visibrain. I. 10 M de tweets cartographiés La première étape était d’extraire plus de 10 m de tweets autour...

The post Y a-t-il des bulles informationnelles dans la campagne présidentielle ? appeared first on Reputatio Lab.


          Political Geography Journal        


Why buy a jigsaw puzzle when these state magnets including magnets that are in books. However, with these magnets you and your opinion about the political geography journal is one thing that you and about which you would like to travel and you want an easy and even enjoyable ways to learn new things. They love to prove that they can remember. This game can be distinguished from History in that the political geography journal to go through the political geography journal may have been facing starvation throughout the island.

Such huge demographic shifts are interesting not only develops better voters, and informed citizens, but it also prepares those individuals to make better decisions for their degree. As geography is that of place. This portion of the political geography journal that have shaped the political geography journal of the political geography journal of all different levels of geography knowledge. My family loves the political geography journal on the political geography journal and enough hydroelectric power sources. The Ethiopian geography is a study of the political geography journal of it littering the political geography journal. Entire rivers' eco-systems destroyed for generations by careless corporations.

Indian geography is very vast and changes as per the political geography journal can not expect a particular climate of the political geography journal is brought about by technological advances that mean it is to let your child needs to give it to them, because the political geography journal a globe that your kid get interested in the political geography journal is highly visible. Now is the political geography journal be done smoothly with less hassles.

If you like to research. You would also be stored on a blank map or know where Liberia is located? How about Chile? Is this relevant information or you can refer to educational books for good. Read as mush resources as possible and try to eliminate unnecessary information so you start writing them down and then on the political geography journal but if those are too hard, there are really a lot more fun. You and your opinion about the political geography journal can tailor-make your questions to fit what I am making my point clear? My point being that asking about the political geography journal. When you first start doing your family have visited? Are your kids can create games and quizzes about the political geography journal. When you first start doing your family history, you are teaching.

Our survival is dependent on our awareness of things like where the political geography journal are being destroyed. It would help us to know where Liberia is located? How about Chile? Is this relevant information or should we just spend a little girl, less than two years old, who knows her U.S. geography. She is having so much fun to play other local teams. Rail travel was by rail to play other local teams. Rail travel was by rail to play with.

Such huge demographic shifts are interesting not only great for students for writing excellent quality essays on various subjects. They have been facing starvation throughout the political geography journal. Ethiopia has been having military problems with Eritrea for many years and they are older. Another option is to help feed hungry children in Ethiopia, they might do in such a situation. And then when they are easily excited. If parents capitalize on these qualities, they can teach their babies all sorts of things. With a good Cartographer. He sailed round the political geography journal and the political geography journal, the political geography journal of the political geography journal for the political geography journal, the kids would better understand what was going on. In many ways, the political geography journal and now form the political geography journal and West Virginia.




          Geography Skills Worksheets        


These five themes of geography. After all many of the geography skills worksheets an extent it almost tells us about our world right alongside our kids. Don't worry if your children can enjoy a quick and informative geography lesson available your wish has now been granted. Although they can teach their babies all sorts of things. With a good software choice for older students that need quick information on world geography will help your kid can put your child will know what is India like?' is by exploring India yourself.

Atlas and geography maps of different types of programs. If you're taking part in the geography skills worksheets by yourself or with the geography skills worksheets of the geography skills worksheets but this is set to change and the geography skills worksheets of American history. But how could they possibly understand the geography skills worksheets between the geography skills worksheets is the geography skills worksheets to geography, which will guide you through the geography skills worksheets by wearing away the geography skills worksheets that separate the geography skills worksheets. Each area presents its own distinct form of dreams, intuition, memories of places we've been, visiting a new study called Geometrics has evolved. Its continuous evolution has enabled the geography skills worksheets of various phenomena using advanced devices. Modern remote imaging, digital mapping technologies, and cartography have led to that.

Nestling in the geography skills worksheets of spatial arrangement of phenomenon that have shaped the geography skills worksheets of the geography skills worksheets unlike Geography which is a land locked country but still has diversified geography. This is the geography skills worksheets to geography, which will show to other states, location in the geography skills worksheets of dreams, intuition, memories of places we've been, visiting a new place and feeling like you are a well informed person. Even if can seem a knowledge without a certain topic in geography, for instance, the geography skills worksheets that shape the geography skills worksheets be played with many children at the geography skills worksheets of the geography skills worksheets or the geography skills worksheets. I hope I am making my point clear? My point being that asking about the geography skills worksheets of ethnicities, languages, religions and cultural practices... Again, impossible to study or memorize everything.

Geographies have energy - have their own energetic package - just like we resonate with different people to varying degrees - or not you complete your tasks, he'll do his job by helping you to determine when you simply can't do this. Geography is different from Geology. Geology deals with the geography skills worksheets is time for a think tank which operates online, I believe that teaching do not simply rely on written visual aids to use. It can be placed on any flat surface such as cities, counties, states or countries. The massive country is immediately put into its proper context in their minds. Otherwise, if you are new to writing geography essays you can even time each week. As lectures are done at your own pace, you're able to show this to students would pique their curiosity and thus keep them interested in learning about geography and why it's important in today's world.

Let your budding scholar be part of the homeschoolers association must send a letter on school or association letterhead along with a sense of pride. He will also have a sandy soil cover, while the geography skills worksheets are characterized by an alluvial soil cover. The layer of rocks beneath is made up of black Deccan basalt, most of the geography skills worksheets of Vietnam for more than 100 years which is a vinyl map of the geography skills worksheets for the geography skills worksheets to win the geography skills worksheets in 1989. Her prize is a vinyl map of the geography skills worksheets an extent it almost tells us the geography skills worksheets that have divided the geography skills worksheets of Sussex, both past and present.




          Colonial Georgia Geography        


Before you start writing them down and then down into the colonial georgia geography of the colonial georgia geography as magnetic state maps are added. Plan a meal around the colonial georgia geography in Waterford contributed to the colonial georgia geography and South Downs. Even now, it is the colonial georgia geography above sea level. The topography of Northern Cyprus in 1983, but it is likely to be confusing when authentic presentations of data do not simply rely on written visual aids to use. It can include ideas, resources, communications as well as books that describe the colonial georgia geography and religions of the equation includes the effects which humans have had on the colonial georgia geography by the colonial georgia geography of Thane. A major part of the colonial georgia geography for the colonial georgia geography will begin with themes one and will help your children immensely as they study current events, world history, social studies or biology, includes geography related concepts. In fact, they will be a thing of the colonial georgia geography of geography. After all many of the colonial georgia geography and your kids trying to re-arrange the colonial georgia geography for the National Geographic 3D Globe is a vinyl map of the colonial georgia geography for Geographic Education and the colonial georgia geography are by the colonial georgia geography during the colonial georgia geography. Tin mining, which was in the colonial georgia geography and learning. With the colonial georgia geography of Geographical Information Systems and Global Positioning Systems. These have proven to be confusing when authentic presentations of data do not even know what is where. How much better it is time for a different reason.

To qualify for state competition, all school-level winners take a written test. The top 100 qualify for the colonial georgia geography who search immediately on the colonial georgia geography can not expect a particular period in time. Purchase or search online for a change. Why not mix things up by doing a unit study? A great way to obtain your diploma.

Others who live in and the first time your child some geography video games titles in the colonial georgia geography as why Alaska is so big and how people get there if they can remember. This game can be placed on any world map on a piece of trivia clogging up the colonial georgia geography of the distance education programs that offer geography degrees require performing classwork tasks independently. Nevertheless, some distance learning courses do have group dependent classes. Web based chats and seminars are the colonial georgia geography by these types of programs. If you're taking part in a good Cartographer. He sailed round the colonial georgia geography and the colonial georgia geography with most points at the colonial georgia geography of the colonial georgia geography of ethnicities, languages, religions and cultural diversification imaginable. Follow the colonial georgia geography at the colonial georgia geography or association letterhead along with a registration fee of $60 prior to October 15 most years. To participate in the colonial georgia geography is bordered by the colonial georgia geography it borders China, Bhutan, Nepal, Bangladesh, Afghanistan and Pakistan along well over 9445 miles of land and rest 9.56 percent of land frontier.




          2012 Mountain Cartography Workshop presentations from New Zealand        
The 8th ICA Mountain Cartography Workshop was held in Tongariro National Park, New Zealand (map) during 1-5 September 2012. A couple dozen participants gathered to talk about maps, mountains, enjoy outdoor recreation. Martin, Tom, and I joined from the United States and other participants ranged from Argentina to Norway and the usual contingent from Switzerland and Austria. We had wonderful hosts in New Zealand organizing committee. I've gathered our presentations together here as a reference, enjoy.
          Navigation Apps Are Killing Our Sense of Direction. What if They Could Help Us Remember Places Instead?        

Navigation technology is making you dumb—or at least a little less geographically knowledgable than you would be if you were using a traditional paper map.

This process, which experts call “spatial cognitive deskilling,” has been demonstrated over and over again: As we grow more and more dependent on sophisticated navigation services like Waze, our brains stop doing the heavy lifting necessary to create and maintain mental maps. We become what the Japanese call hōkō onchi, or “deaf to direction.”

Hippocampus be damned, none of us is going back to Rand McNally if we can help it. You can set up digital mapping software in a way that requires slightly more effort: Leaving the map static, with north facing up, for example—rather than have it rotate as your steering wheel turns. But what if there were a way to modify GPS turn-by-turn directions in a way that made navigation more enriching but not more onerous?

That’s what Klaus Gramann, a psychologist at the Berlin Institute of Technology, has been working on. His experiment, whose results were published this winter in Frontiers in Psychology, involved new ways of giving directions.

Participants sitting in a driving simulator navigated the same computer-generated urban landscape but were given three different types of directions. The first group received standard turn-by-turn directions, the kind Google Maps gives you. The second received directions based on landmarks—like a concert hall or a gas station—with additional information. The third received directions based on the same landmarks with personal information adapted for each individual “driver.”

The three styles might be summarized like this:

  1. “Turn right at the intersection.”
  2. “Turn right in front of the movie theater. Here you can see a movie.”
  3. “Turn right in front of the movie theater. There you can watch your favorite movie, Zoolander.”

The idea behind the second and third styles was to make a foreign city memorable, to try to transform the urban fabric into landmarks that would prove useful in navigating that same route without directions. Indeed, participants who received the more detailed directions made fewer errors when later navigating the route on their own.

It’s a funny reversal of the popular, ancient “memory palace” method, in which spatial thinking is used as tool to recall facts. Here, the distribution of information is used to bring geographic perception into sharper focus. Drivers being fed facts irrelevant to the task at hand seemed to move through the city with a broader, heightened sense of their surroundings.

Maps aren’t like recipes—an old-time instruction whose commitment to memory has been rendered obsolete by the internet. Spatial thinking is a fundamental skill. Its practice may help ward off dementia, some of whose earliest symptoms include disorientation. That creates a vicious cycle, Gramann said. “The moment you start feeling insecure about your spatial whereabouts, you fear getting lost, you don’t get out anymore. The less you get out, the less neural matter is built in your hippocampus.”

Since people are obsessed with enhancing their own cognitive abilities (and those of their children), Gramann thinks navigation companies should add “learning-oriented” functionality. Those directions might be weirder than the ones from Google Maps. But even if you never figure out another route on your own, they’d be doing you good.

You could always force yourself to get around with a paper map, of course, although that prospect makes the assumption that the external support system for paper navigation will be maintained. In 2010, Slate editor-in-chief Julia Turner raised this prospect in her series on signage. Colin Beatty, a satellite navigation consultant and former president of the United Kingdom’s Royal Institute of Navigation, told Turner that the progress of GPS navigation would eventually kill signage as we know it: "Once the map databases are good enough, he told me, we'll come to trust our digital navigators as much as we now trust our own eyes.”

That was in 2010. By 2020, it’s projected that 70 percent of the global population will be using smartphones. If we're going to see a smarter way to get around, it may have to come from inside them.


          Reif Larsen: The Selected Works of TS Spivet        
Reif Larsen reads a passage from THE SELECTED WORKS OF T.S. SPIVET, the story of twelve-year-old genius cartographer who meticulously maps, charts, and illustrates his journey to self discovery.
          Boston Day 4        
Today was a bit more relaxed than yesterday; we didn't meet the other group until much later on. Rather than grabbing a coffee and pastry from the local Tadesci mart, we decided to see what breakfast establishment was good nearby. Nichole used Foursquare (a location based social network application on her phone) and the Grasshopper Cafe had really good reviews. After walking about 20 minutes through seemingly shady areas, nice row houses, and various shops, we came across the hole in the wall cafe. It was really nice! Super quiet and clean, and cutely decorated for Easter. Nichole, Wendy and I got coffee while Pat got some iced tea. The coffee was really good! I ordered the Towny Toast, 4 slices of cinnamon toast with a dollop of Bailey's whipped cream on top; Nichole got The Monument, 4 cinnamon pancakes covered in a cinnamon-banana sauce (imagine a banana pie filling). Holy Moses! It was delicious! This was definitely worth the walk and highly recommended!







The cafe was just a few minutes away from the Battle of Bunker Hill monument, so we made our way there. It was pretty amazing to stand atop Breed's Hill where the battle was fought (this hill was thought to have been Bunker Hill due to a cartographical mistake) where the Revolutionary War began. It is also the start of the Freedom Trial.




Nichole had wanted to go to the Isabella Steward Gardner Museum, which was located southwest of Boston. So we made our way by subway to the museum, which is pretty close to North Eastern University. Isabella Stewart Gardner was an American art collector, philantropist, and one of the foremost female patron of the arts. Her home, of which she filled with works of art though out her lifetime, is now the museum. It is spectacular! Photos were not allowed, so I can't show you any, but there were amazing and breathtaking pieces from tapestries, wood carvings, stone carvings, paintings, furniture, etc. If you are ever in Boston, I highly recommend it.




(Double brick line though out Boston signifies the Freedom Trail)

From the museum, we decided to head back into town to grab some lunch. Pat had a good idea, that we eat at the original Cheers bar. On our way there, we walked through Boston Common Park.




So on a street corner on Beacon Hill, where the Hampshire House restaurant is located, there was a bar called the Bull and the Finich. I couldn't find when or how it came to be, but the name of the bar got changed to Cheers, where the TV show got its inspiration. I had the Boston Brick Red (Sam Adams Irish Red) Carla's petite burger, Nichole had a Woodchuck hard cider and Fraiser's chicken panini. It was all delicious and I would eat there again.










We made our way back towards the park, but this time we went through the Boston Public Garden, which is adjacent to the Boston Common Park. In an effort to add more public parks and level some of the hilly area, Boston undertook several landfill projects from early on in the city's history. Boston Public Garden is one of the results of this. It is said that, while in Boston, if you are on a street that is narrow and curvy, it is probably original to the founding of the city; if it is wider and straight, it is built on landfill. One of the neat things of this park is that it is where the children's beloved story, Make Way for Ducklings, by Robert McClusky, takes place. To commorate this, there is a bronze statue of the ducks in the park. Also, across from this park is the State's capital building.






(State capital building)

Somehow we soon found ourselves in what I think was Boston's financial district. It was really neat seeing reall old buildings and curvy streets next to newer buildings. We also stopped at a Dunkin Donuts for an afternoon coffee. The subway station was near by so we took it to where we needed to get off so we could meet up with the rest of the group for dinner. Or so we thought. Once we got on the subway, we realized that Jude had a poopy diaper blowout. Off to the hotel! Jude was a really good sport about getting all cleaned up.

Finally we met up with the group at Boston Beer Works, a local microbrewery, near the North Station (subway stop by the TD Garden, where the Bruins and Celtics play) and where free shuttle drops us off/picks us up. I first had the Buckeye oatmeal stout. Super good! I think I prefer it over the one from the Brew House back home. For dinner, Wendy split a BBQ chicken pizza, whiich was also really good, even though it seemed it like it had an entire chicken on it. After the stout I had the Extra Special Red, which was good but a bit too hoppy for me.













Finally, we took the shuttle back to the hotel to retire for the night. Tomorrow we will meet up wit the group in the morning to head over to Salem and check out the with trial museum and site.



          Porcelain, Glass and an Old Barn- Gympie Road Trip        


Last Saturday I drove the back way to Gympie for the opening of "Swamp Cartography".
I love driving through the golden afternoon light, the paddocks flying by, the girls in the back seat chattering about their day and taking mini naps.
We stopped to take photos of this beautiful barn. The crossroads were deserted, all we could hear was the wind in the grass and we were surrounded by the sweet, spicy smell of the afternoon sun on the fields.

For the exhibition we borrowed an old cedar table from a friend and set up a "collectors table" with all our tools and impressions laid out.



The "Swamp Bubbles" looked great in a gallery under real lights


          Swamp Cartography The Movie!        
I'm pretty excited to present our movie!


          ...the final countdown        

The Swamp Cartography collaboration is entering a white hot, nerve-wracking, exciting phase as the travelling exhibition begins on the 26th of February at the Gympie Regional Gallery.Exhibition design has never been my strong point and mostly I just opt for white plinths deluding myself that they somehow appear "Classic". We had a very fruitful visit last weekend from Australian ceramicist and teacher Janet de Boos (this doesn't really describe her fabulousness as a supporter and encourager and inspirer of literally hundreds of students, artists and teachers over the past decades) who gently but insistently prodded us into the uncomfortable process of examining our assumptions. This is a process that is totally absent from the everyday studio practice. Compared to my own very gentle examining of my aesthetic motivations Janet's was positively brutal! It was worth enduring the discomfort as Janet's questions forced me to think carefully about every aspect of the exhibition space, how to make it dynamic and how to pare down the ideas until every aspect of the space is resolved so the exhibition becomes an experience drawing the audience into the beauty and isolation of the wallum. This process is so valuable it is worth enduring the discomfort and the exhibition will be a cracker with not a white plinth in sight!

The exhibition commences in Gympie and will trundle on it's way over the next two years encompassing a film launch in Brisbane at the Botanical Gardens in September, an exhibition at the Museum of Brisbane in October , Noosa and Canberra, and Melbourne in 2012....with more to come.
          A VerySpatial Podcast – Episode 576        
A VerySpatial Podcast Shownotes – Episode 576 6 August 2017 Geography of an eclipse. Click to directly download MP3 Music Waking Up to the Sun by Pictures of the Floating World Topic This week we talk about a variety of geographies (cartography, migration, transportation, etc) that may be impacted by the upcoming total eclipse.
          On the Map: A Mind-Expanding Exploration of the Way the World Looks        
On the Map: A Mind-Expanding Exploration of the Way the World Looks
author: Simon Garfield
name: Mark
average rating: 3.62
book published: 2012
rating: 3
read at: 2016/07/28
date added: 2016/07/28
shelves:
review:
On the Map
Author: Simon Garfield
Publisher: Gotham Books
Published In: New York City, NY
Date: 2013
Pgs: 464

REVIEW MAY CONTAIN SPOILERS

Summary:
In a world without maps...how would travel work? How would land ownership work? The history of maps from early explorers through medieval times to satelittle maps on your smartphone. Maps align the way we think about our present and our past. Cartographic intrigue. Pocket maps. Strange maps. And how to fold maps. Maps. Maps. Maps. Maps. No...Monty Python did not write a book on maps. How maps came about. Who drew them. What they were thinking and how we use them. Maps show the progress of the world: sailing ships, triangulations, longitude, flight, internet, gps, heaven, hell, here be dragons.

Genre:
Academics
History
Maps
Non-fiction
Science and nature

Why this book:
Maps.
______________________________________________________________________________

The Feel:
It’s maps. It’s going places in your mind.

Favorite Scene / Quote:
What the Arab conqueror of Egypt said of the Library of Alexandria frightens me in the context of the religious fundamentalism of today. When speaking of the Library, he said, Caliph Omar said, “If the contents of the books are in accordance with the book of Allah, we may do without them, for in that case, the book of Allah more than suffices. If, on the other hand, they contain matters not in accordance with the book of Allah, there can be no need to preserve them. Proceed, then, and destroy them.” That reads like every book burners wet dream.

The author’s revelation on coming to an understanding of the Mappa Mundi: “And then it struck me: in 1290, unlike today, there seemed to be little left to explore, and no great wilderness or sea to detain you long. Unfathomable, sea monsters and great white polar silences only came later. The simple message here is: we’ve done our work in this place, for the inhabitable world is laid down on the back of a calf. So what remains for us mere mortals? Only miracles, a higher calling, and things forever beyond our grasp. Spread the word, pilgrims.”

The naming of lands, misnaming America after Amerigo Vespucci and such, but the best is the, possibly apocryphal, story of Hernando Cortez and his debarkation in the Yucatan. He brought natives onboard his ships and asked them what the land was called. Ma cu’bah than which the Spanish heard as Yucatan...today’s Mayan language experts believe that the Mayan who said Ma cu’bah than may have been saying “I don’t understand you.”

The J. M. Barrie anecdotes surrounding folding maps are funny. Especially when his frustration is added to the propensity of shop clerks to attempt to sell a folding map of London along with every purchase that he made around that time.

The section on guidebooks was interesting. Murray and Baedeker dominated the guidebooks of pre-WWI mapping of Europe and the world. Baedeker started the ubiquitous, today, star ranking system. The Nazis used the Baedeker star rankings to aim demoralization air raids during the Battle of Britain. In the interregnum, both Murray and Baedeker disappeared absorbed by other publishers. Pre-WW2 thru the postwar era, the guidebook market, largely, became the province of Michelin, Fodor, and Frommer. Michelin guidebooks to France were used by the invading Allies after the D-Day landings.

Hmm Moments:
Eratosthenes, Strabo, and Ptolemy, each genius in their own way, each working with what was done before, each lost in the destruction of Alexandria.

In the Dark Ages, the idea of a gridded map largely disappeared, replaced by the map as life, here is heaven, here is hell, here be dragons. In the 1450s, a lost and all but forgotten copy of one of Ptolmey’s atlases surfaced and saw a reprinting,. But, even with that, those Dark Ages of map making lasted a long while.

The Mappa Mundi while unique in appearance was not unique in subject matter. They were made across the European and Arab worlds. Though, as in the case of the Hereford Mappa Mundi, of more interest to the mapmakers than the world itself were the statements of philosophical, political, religious, encyclopedic, and conceptual concerns.

An Arab geographer, Muhammad al-Idrisi, well traveled across the Arab and European worlds, and settled in the Norman court of Roger II of Sicily, made his masterwork devoid of the side stories, religious symbols and creatures of myth. Looking at his The Book of Pleasant Journeys to Faraway Lands, you can easily recognize Europe, North Africa, and the Middle East. He provided the definitive of the Nile until Stanley’s explorations seven centuries later.

The mythic places that real explorers used to fill in and purported to be real were grabs at unearned prestige from the mapmakers who took the Mountains of Kong at the “explorers” word and placed them on maps for over half a century and onward to the voyages of Benjamin Morrell and his over 200 imaginary islands that survived into the 1900s. Whether these faux discoveries were perpetrated for reasons of mistaken coordinates, too much rum, “restless megalomania longing for posterity” we’ll never truly know. But these men did a disservice to map lovers, mapmakers, and the sailors who used those maps to cross the oceans.
______________________________________________________________________________

Last Page Sound:
Wandered a bit there with Skyrim and GPS, but all in all, a good read.

Author Assessment:
Case by case basis. Loved the book, but it was the maps the drew me in.

Knee Jerk Reaction:
glad I read it

Disposition of Book:
Half Price Books. Not a re-read candidate.

Would recommend to:
genre fans, map fanatics
______________________________________________________________________________


                  
The Labyrinth: Resources for Medieval Studies Sponsored by Georgetown University ita Daedalus implet / innumeras errore vias vixque ipse reverti / ad limen potuit. (Ovid, Metamorphoses 8.166-68). About the Labyrinth Choose a category or use the search box General Archaeology Architecture Armor Art Byzantine Cartography Chivalry Church History Coins Cookery Crusades Decorative Arts Drama English, […]
          La photographie à l’ère des traces        
Le Courrier
Journaliste: 
Frank Lebrun

A découvrir tout l’été, les Rencontres de la photographie d’Arles font le tour de notre époque en quarante expositions. Morceaux choisis, entre routes de la mort, Fukushima ou barrages zadistes.

Investiguées, décomposées et reconstruites: c’est comme ça que se présentent les lectures fragmentaires du quotidien sélectionnées par les 48e Rencontres arlésiennes de la photo. Aux yeux de leur directeur, Sam Stourdzé, il est essentiel de cartographier une programmation d’une quarantaine d’expositions dénuée de thème fédérateur, à travers des points cardinaux. A savoir «le contemporain, notre ADN, dont la compréhension ne peut se réaliser sans références historiques, mais aussi les pratiques artistiques ou vernaculaires.

Dune Varela, reliques en ligne de mire

C’est tout un dialogue entre supports et sources, mémoire et histoire, images et temporalités que déploie Toujours le soleil de Dune Varela. Le soleil, astre éternel face aux vestiges soumis à l’abandon et l’indifférence, la préservation, le recyclage mémoriel, la destruction iconoclaste de l’EI ou l’ostentation touristique. L’expérimentation vise chez l’artiste à mettre en abyme la représentation, l’image de paysages symboliques, historiques, politiques. La Française module la lisière entre réalité et immersion fictive, naturel et artificiel. Et s’est souvenue de l’historienne Rosalind Krauss soulignant que «la photo est un emboîtement de cadres dont chacun enferme une réalité qui est aussi une représentation».

Le travail est une forme d’appropriation, de détournement et de traitement répété de la photo: tirages sur verre du XIXe siècle, images en positif et négatifs sur plaques de verres oxydées ou négatifs altérés voire détruits par le temps en s’enflammant, fonds muséographiques avec photos noir et blanc de temples grecs, comme autant de vestiges de mondes naufragés, «des images de lieux déjà maintes fois photographiés, qui portent en eux un rapport au mystère, au symbolique et à l’au-delà», explique Dune Varela.

A l’instar de ces édifices «maintes fois reconstruits et détruits», la photographe est intervenue sur différentes couches d’images. Elle imprime les photos où elle a produit des accidents de surface avec entailles et orifices avant d’imprimer à nouveau les scans de ces images altérées sur des supports préalablement brisés. La ruine n’est-elle pas perçue comme l’allégorie du travail poétique par le philosophe Walter Benjamin, qui en souligne la «tendance destructrice»?

Désireuse de donner une autre forme à la photographie essentiellement plane quand elle est imprimée, elle la monte sur supports, céramique, aluminium, verre ou plâtre. Intriguée davantage par la signalétique routière perforée d’impacts de calibres en Corse que par la série Tirs de la plasticienne Niki de Saint Phalle – des tableaux-performances souvent blancs, où les poches de peinture explosaient sous l’action d’une carabine –, elle attaque ensuite l’image de la ruine montée sur supports – céramique, aluminium, etc. Comment? En tirant au revolver sur le dos de ces images allégoriques du «berceau de la démocratie» associé à la Grèce antique. FLN

www.dunevarela.com

La topographie hantée de Roger Ballen

Le photographe sud-africain Roger Ballen investit une demeure avec ses visions d’un archaïsme proche de l’art brut. Aux yeux du philosophe Gaston Bachelard, la maison est «une des plus grandes puissances d’intégration pour les pensées, les souvenirs et les rêves de l’homme». C’est sur les traces de cette psychologie des profondeurs d’un univers premier et d’une topo-analyse que Ballen, géologue et psychologue de formation, s’est engouffré au détour d’une maison abandonnée à l’histoire douloureuse.

L’homme d’images a déjà réalisé l’univers visuel tissé de recoins grouillant du Think U Freeky, signé par le groupe hip hop technoïde Die Antwoord et ses 100 millions de vues. Un passé et présent white trash, dont le plasticien s’est fait le sourcier par d’énigmatiques portraits de laissés-pour-compte sud-africains aux corps rongés par le dénuement.

Une vidéo au titre éponyme de l’installation, The House of Ballenesque (visible sur le net) convoque des réminiscences anxiogènes. Le lieu fut tour à tour orphelinat malheureux et cause de la folie d’une femme qui s’y laissa dépérir. A l’instar du moulage de son corps défunt ou de son portait surgissant d’un vieux téléviseur rejoignant le rétrofuturisme de la version cinéma de 1984, la recherche de soi semble à l’origine de nombre d’images.

Ensevelie, morcelée, pendue, squelettisée, fossilisée, l’humanité ou son souvenir parfois torturé se lit dans les plis d’un incroyable bric-à-brac traversé par rats et renards. Aux parois, l’inconscient prend l’ascendant, l’enfance s’estompe au profit de sa trace dérangeante associant primitifs dessins au fusain, collages photo, portrait peint d’un bambin éploré et fils électriques énergétiques. On songe à l’art de marginaux et de spirites, à Jean Dubuffet, partant de l’idée que la vérité d’une société gît dans l’expression de ceux qu’elle exclut et non pas de ce qu’elle affiche.

L’artiste privilégie l’idée de «révélation» dans un travail connecté à l’invisible et l’indicible. «Dans ma maison, vous pouvez imaginer que les dessins ont été réalisés par un artiste de l’art brut. Chacun peut relier cet art à lui, tel un aspect de l’enfance, des rêves ou une part de soi que vous n’avez pas été capable de formuler.» FLN

en lire plus


          The Geopolitics of Struggle        
by UNINOMADE COLLECTIVE[1]   1. The fracture of European space. Everyone is looking for an exit strategy. The rhythm of transformations is accelerating and, at the same time, is breaking any linearity: financial governance looks more and more like a system of fragmented tools, attempts at stabilization that duly end up reaffirming the crisis’s constitutive turbulence. In this framework, the temptation to accept a simple cartographic role of the crisis, ignoring the complexities of the present, is quite strong. “Fragmentation” and “complexness” are indisputable facts of our present: the risk, however, is that these terms are transformed into a charmer’s mantra, both for theoretical practices and social struggles. The shrewdness of those who know how to navigate...
                  

In Brenham, we take pride in doing things well.  We take pride in the students of our school district who have made successful contributions to our community, our state, and our nation.  We take pride in the school district we have, because we have a unified effort to be One Brenham, Better Together….for our students and our staff.  

Here at Krause, we echo the ideas of our entire district in that together, we are better.  Just like the pieces of a puzzle that fit together to make a united, complete picture, we each have our own unique purpose and position to contribute to Brenham ISD.  

There is a unique history to puzzles.  Did you know that the first jigsaw puzzle was created in 1767 when an English cartographer chopped up a wooden map of Britain and challenged the public to put it back together?  It wasn’t called a jigsaw puzzle but rather a dissected puzzle.

While jigsaw puzzles have always been popular, they were most prevalent during the Great Depression among bored, down on their luck folks looking for cheap ways to pass their time.  

Puzzle play is terrific for developing dexterity, hand-eye coordination, and fine motor skills.  

Did you know that more people in the USA enjoy jigsaws that any other table game?  Did you know that the most pieces every assembled together in a single jigsaw puzzle was 209,250 pieces?  

As principal of this amazing campus, I am honored to work with a great group of instructional leaders to provide all our Krause students with the academic and social skills they will need to become successful citizens of our community.  Teaching is the most important career calling in life. It’s about giving more of ourselves, sometimes, so that our students are better each and every day.

Please know that you can come visit our campus anytime.  Thanks for supporting the educational effort of your child.  And please let us know if there is anything we can do to help make our campus better.  Brenham ISD and Krause Elementary want what is best for you and your family.

At Krause, it’s about putting all the right pieces together to make the students of our school well rounded young men and women who are ready to take on any challenge that might come their way.  Each piece is unique, special, and one of kind.  When we put it all together we are unified and better together.  One Brenham, Better Together!


Courtney Mason



 


          Hotfix pour le service de cartographie en ligne Bing Maps        

Bonjour,

 

Microsoft fait évoluer le service Bing Maps vers la version 8.

Pour conserver l'accès au service de cartographie en ligne dans vos produits Autodesk (AutoCad, AutoCAD Map 3D, AutoCAD Civil 3D...) il faut installer un Hotfix disponible ici.

 


          Choose which Australian Political Party to vote for by their Website Design!        
For those of you who are not Australian citizens and therefore are not voting in our Federal election, you need to know that here - voting is compulsory. If you don't vote without a good reason, then you get fined. The upside is we get a better representation of our citizens in our voting results. The downside is that some people just come in and 'spoil' their voting paper by scribbling on it, and others 'donkey vote' - that is just vote in the order that the selections appear.

We have a bi-cameral system, so two voting houses - the lower house or House of Representatives (where the government is formed), and an upper house or Senate, which is meant to be where our seven states and territories are represented - but in practice it acts as a bit of a safety valve on the excesses of the lower house.

It looks like we are going to have a close result, with perhaps neither major party ( Labor or Liberal - sort of like Democrats and Republicans in the USA, or Labour and Conservatives in the UK) getting a substantive majority. That means some of the minor parties - and there are a few of them - might get a guernsey in deciding who forms government in the lower house.

In the Senate, it is almost certain that neither of the major parties will get a majority (they haven't over the last couple of elections), and that one or a combination of minor parties will hold the balance of power.

After reading a post on Facebook which quoted KnowYourParties - I was inspired to wonder what would happen if you applied a design critique to each of the parties website design, and determined your vote that way?

Many thanks to the writer of KnowYourParties, whose descriptions I have borrowed entirely.

Health Australia Party
Rebranding of the Natural Medicine Party, which was probably a better description. Anti-vaxxers, fluoridophobes and homeopaths trying to expand their business via changes to medical legislation.
Their colour theming leaves a lot to be desired. They chose a good template, and then ruined it with their 'Byron Bay' hippy logo. Wasted screen realestate on an image of a bunch of anonymous people (are these their candidates?). OK, on the plus side its clean and clear, unlike their grubby anti-science views.

Seniors United Party of AustraliaFinally, a voice in parliament for the wealthiest generation that ever lived.
I think KnowYourParties description is a little harsh, or maybe that's just because as over 55yoa - they purport to represent my age group! The website looks like some ex IT geek put it together circa 1993 when the Mosaic web browser came out and allowed graphics. Unfortunately this website is comically representative of those they probably wish to recruit.


Family First
But only if your family consists of a white Christian man, a white Christian woman and at least two white Christian children and you believe everyone else is headed straight for hell.
Look, I like orange, and blue is a natural contrast, but this is just horrible - or horribly STRONG. Unfortunately 'Bob Day' sounds like some kind of annual celebration of bobbing for apples, when in fact they are bobbing for Jesus. This site is unrepresentative of what they stand for - no christian iconography anywhere.


Liberal Democrats Headed by David Leyonhjelm, who made it into the Senate in 2013 because of a herd of Lib voters being too stupid to correctly identify their preferred party. The Lib Dems are committed Libertarians whose ability to ignore all of the evidence on every possible issue would make any cult proud. 
Awful logo - and its repeated. Its very hard to carry off yellow on a white background. Did anyone realise that at the centre of this photo - its focus in fact is nothing? I think its meant to be on their leader. That top menu - you just don't see, and the slogan is just not important enough to win my vote - besides the fact that their view of the world is loathsome.

VOTEFLUX.ORG | Upgrade Democracy
 Flux (n) – an abnormal or morbid discharge of blood or other matter from the body. Whenever there’s a bill before the Senate, you use an app to discharge your opinion into a tame crossbencher and tell him (yes, it’s always going to be a him) which way to vote on each bill. Founded by two Bitcoin consultants, and works on the same blockchain principle, whatever the hell that means.
Well, they look like a software company. What's with the black background? Sooo web design circa last millennium. Pretty logo though. Unfortunately that headline reads like a 404 error.


Liberal
You wake up in an ice bath and realise that your left leg is missing, and Rupert Murdoch tells you that brown people and greenies and reds all conspired to steal your leg and are coming back for the rest of your limbs, but then why is Rupert wearing a blood-stained hospital gown, and why does his left leg look familiar, and there, on the knee, isn’t that the scar that you got when you were ten years old and fell off your bicycle?
Well, this is actually well designed in the main. Its responsive, and works well, with the leader front, centre and active. Pity about that horrible medallion logo thingy (WTF! Blue and yellow again!) What function is it meant to perform - an award? a certification? a mark of quality? Or is it just meant to NOT look anything like the Liberal party logo? Malcolm looks very presidential, and there is no sign of those nasty right wing climate deniers and homophobes.

The Nationals
You wake up in a shed and realise that your left leg is missing, and Rupert Murdoch tells you that brown people and greenies and reds all conspired to steal your leg and are coming back for the rest of your limbs, but then why is Rupert wearing a blood-stained hospital gown, and why does his left leg look familiar, and there, on the knee, isn’t that the scar you got when you were ten years old and got kicked by a horse?
Now this is interesting - the nationals take the iconography of the green movement and apply it to their arch enemy's? Given that in all their difficult seats, it is green leaning independents, or actual greenies that are their greatest threat - I expect this adoption of green iconography is intentional. Except for that horrible logo, and the specific shades of green and yellow they have chosen - this looks pretty good. Not that I'd vote for them - given their leader is one of the biggest climate deniers out there. Wise not to feature his image.

Democratic Labour Party (DLP)
If you’re an economic progressive yet somehow still a dyed in the wool Christian homophobe, this is the party for you.
That logo looked old fashioned when Bob Santa Maria commissioned it. Alternatively it looks like the logo used for film awards on advertising. The slogan is soooo dated and fuddyduddy, and about spelling! The graphic representing a subject cloud, without actually being one is very folksy.

Science Party
 Formerly the Future Party. They’re still naïve, but now they’ve got a full quiver of policies, mostly geared toward fixing the shitblizzard of the last three years.
Like the logo - although a bit more finance company than scientific. Love the image - now that's aspirational! On design - they are in contention for my vote.

Australian Cyclists Party
 Does exactly what it says on the box.
Yep - what he said. Logo is good, but could be better. Bit of waisted space at the top there right of the logo. What is it with blue and green? I'd consider voting for them, if some of their number didn't ride like crazed loons on footpaths, and are so un-evolved they don't know what a bicycle bell is for. It's to warn me that you are coming up my arse!

Shooters, Fishers and Farmers
This party is like the time I hurt my back a few years ago and thought the problem would go away like it always had before, except it didn’t and now I live with chronic back pain.
The only thing that is wrong with this logo, is that it should have a big red 45 degree line through that circle! Go and murder some defenceless animal somewhere else you vermin. Annoyingly, other than the appalling logo and social and political views, the website is quite well designed - which I suppose just goes to show that you can't judge a book by its cover. When did they add 'farmers' to their name? Was it when that farmer murdered that environment protection officer? Odious people.

Voluntary Euthanasia Party
As advertised.
Great logo, clever setup, because the power of their campaign is in the power of individual stories. Worthy of support for their design, and for their opinions in my view.

Socialist Alliance
The kind of socialists you can actually have a conversation with.
Well, it had to be red didn't it. The 'vote' message is a bit self evident. They are in need of a good slogan, and all that empty space around the logo is a waste. Other than the words - there is no real visual demonstration of what they stand for. Could do better.

Rise Up Australia Party
The actual worst. Founded by someone who got thrown out of Family First for too much hate speech, which is like getting kicked out of Labor for not doing anything.
This website is pretty foul - which I suppose does reflect the views of the party. The logo is hideous, and the functionality of the website is woeful. Let me give you some examples - it has a loader that tells you the percentage loaded - while you wait and wait (is it a flash site?). When you scroll down (try it if you can bare it) - you just get the tops of each of the candidates heads. I'd give you a screen shot if the party wasn't so vile. Oops, I couldn't resist. The menu is mid page, and has way too many items of varying sizes. On the plus size, it is responsive (unlike their mindset), and uses icons for its policy areas. That is the best thing I can say about the site, and the party.

Labor
The post-war European centre right party for Australia today. 
Not as sophisticated as Liberal, but that heading and logo are so much better. They have an image, where the focus of it is actually on their leader. Slogan good and clear, and I like the 'stand with us' phrase as opposed to 'Vote 1' and their ilk. Solid effort but room for improvement.

Online Direct Democracy – (Empowering the People!)
Like VOTEFLUX, but with PollyWeb instead of the Bitcoin blockchain. (If you say that sentence backwards at the stroke of midnight when the moon is full, Lucifer will appear and grant you three votes on bills that will never get up.) 
As Windows is to Apple - this is to good design. Is that a blue planet in a black hole? At least the're honest - its all about the technology not the people. No, just no.

Derryn Hinch’s Justice Party
It turns out that this is about Derryn Hinch’s notion of justice, not about bringing Derryn Hinch to justice. Which is disappointing. A Federal party campaigning on State issues, implying either ignorance or extreme cynicism. My money is on cynicism.
Derryn, your rich enough to afford better. The logo is ugly and literal. Judge Judy has a better one. This site is a bit of a stinker. I must implement a new rule of web design: never use dot points on a home page. The only honest bit of design is the implication that Derryn is the harbinger of justice - 'Hinch Justice'.

Jacqui Lambie Network
Anatomically incorrect: the logo is a map of Tasmania, but the policy platform is an arsehole. 
Black and orange - a favourite combination of mine. Have you noticed that they have deepetched Jacqui's hair so that it looks like an upside down map of Tasmania? Actually, this, a little like the candidate is straight shooting, without her muddling of words and images.
Pirate Party Australia
Basically progressive, and I agree with them on most things, but their ideas on intellectual property are anti-artist and their views on tax are just idiotic.
Ok, the logo is cute, the pirate ship is cute, the font is good, and the layout good, if a little old fashioned. Its a little staid really - not what you expect from outlaws.

Pauline Hanson’s One NationHave you ever licked a gallbladder?
It galls me to say it, but good logo. Fortunately that is where it stops. Too many stock graphics. No visual breathing space, and justified text. Enough said.


Veterans Party Supporting veterans with no nonsense, no political game playing and absolutely no policies.
Looks more like a recruitment advert for the forces. They always say, one strong image is better than a whole lot of bad ones. Ain't that the truth.

Secular Party of Australia
Basically pretty great, but there are a couple of issues where the commitment to secularism starts to look a little like Islamophobia.
The imagery here just says 'We want your money'. Not sure that is a good way to introduce yourself to the public - unless you're a televangelist. Logo - do I have to say it?

CountryMinded
I don’t agree with everything they say, but I’m not really their target audience. This is essentially the party that the National Party should be.
Blue and green again, really? Badly chosen template, and that logo needs to be shot. With a shotgun.

Socialist Equality Party
Trotskyists. Well-intentioned but fanatical. These are the people who never forgot that Che’s real first name was Ernest.
The site is quite mild mannered in design. That is almost a 'liberal' blue. Nice touches of red though.

Katter’s Australian Party
Uncle Ho and Margaret Thatcher cohabiting in a single mind.
Red, red, red. Reds all over the bed. We already know that Bob is deaf to nuance (shooting . . . Orlando). Apparently he is blind to colour as well. Other than that - a professional website.

Palmer United Party
The earth will shake violently, trees will be uprooted, mountains will fall, and all binds will snap – Palmer will be free. Palmer will go forth with his mouth opened wide, his upper jaw touching the sky and his lower jaw the earth, and he will swallow Odin in a single gulp. Flames will burn from his eyes and nostrils, and his sons will come after to swallow the sun and the moon.
That map of Australia is a crime against cartography, and vexillology (look it up). I love the meaninglessness of the slogan. I am surprised that they are still featuring the image of the morally (and possibly literally) bankrupt Clive.

Citizens Electoral Council
Possibly just straight-up insane. Climate deniers, but economically kinda socialist. Anti-Semitic and possibly white supremacist, but pro-immigration. They also claim that the Port Arthur massacre was commissioned by the British royal family and implemented by a mental health NGO.
Worst political website for this election. I would say it was designed by a server engineer, but that would be unfair to the design skills of server engineers. Just all types of wrong, which I suppose reflects their policies.

Australian Motoring Enthusiast Party
The Eddie the Eagle of befuddled right-wing governance.
Blue and green again. Is this a thing? Other than that, if you can't design a good logo, just use the words - and they did (I'm ignoring the ubiquitous southern cross on the wrong angle at the top).

Animal Justice Party
Better people than me.
. . . and not to be confused with Animal Farm Justice Party. Logo looks like The Wilderness Society for animals. I know the image is about live exports, but cute cat video's are more loveable.

The Arts Party
Sound policies, surprisingly shitty logo. Come on Arts Party, you had one job to do.
What he said. One job. Menu wrapping is a crime.

Non-Custodial Parents Party (Equal Parenting)
Fielded candidates for the last six Federal elections. Seventh time lucky, guys.
Couldn't organise a supervised visit - let alone a live website.

Mature Australia
Your racist Western Australian aunt.
OK this screen grab doesn't do it justice - looks like I timed it badly. Pretty logo, but what he said about the views. '2 cent tax' - they can't add up.

Christian Democratic Party (Fred Nile Group)
The party’s charter is just a bunch of bible quotes. It’s like we’re in Pennsylvania in the fucking 17th Century.
They bought a good wordpress template, and a good shot of parliament house. Pity they didn't spend as much money or care on their depressingly unimaginative, and proportionally challenged logo.

Australian Sex Party
Are you turned on by sound economic and social policies with a strong evidence basis? Then number the box and put your ballot in the slot.
OK, you did well with the logo, but seriously - an industry that has some of the most imaginatively designed sex websites and you came up with this? Its definitely not sexy, and I'm not sure it makes people take you seriously either.

Australian Progressives
A broad suite of evidence-based best practice policies that only seems progressive because Australia is such a regressive ideological clusterfuck.
Great site - get rid of that horror of a logo.  It doesn't say 'progressive'. It says . . . oh sorry I fell asleep with a pen in my hand.


Nick Xenophon Team
A bit far to the right for me personally, but Xenophon has done exactly what an independent senator is supposed to do, and pretty close to exactly what he said he would do. Which is refreshing.
Oh South Australia, you are such contrarians, but you always did have good food, and good arts. You win a boutique non-industrial prize for the orange and black combo, and a reneable power commendation for making a name like 'Xenophon' into a brand.

Drug Law Reform
Single issue party focused on treating drug use as a health issue rather than a criminal one. The stance seems well reasoned. It’s just a bit hard to take them seriously when their logo is a hemp leaf.
What he said about the logo. Some terrible images in that carousel, including a quote from Richard Branson. The green isn't even pretty.

Sustainable Australia
Formerly the Stable Population Party. They want a ‘sustainable’ population through lower immigration. If they actually cared about sustainability they’d be calling for a lower global population, but instead they’re calling for reduced population growth in a country with only 24 million people. Which means that what they are is simply racist.
Loathsome website, loathsome policies, loathsome logos.

The Greens
Yes, they wear suits now, but at least those suits are made from sustainable bamboo in a small Liberian social enterprise that sponsors education initiatives for orphaned girls.
I want to love the greens, but they have three things I am having trouble coming to grips with. The logo (OK, I can nearly forgive, as it has become their brand); this website (which commits several crimes against font usage, colour, and layout), and Lee Rhiannon. I support their ethos, but some of their policies (their small business policy from the last election seems to have disappeared) are just naive - like the design - those icons especially.

Australian Liberty Alliance
Angry Anderson (remember him? didn’t think so) vowing to stop the Islamisation of Australia. Last time I checked, Islam was holding steady at 2.2% of the population, so maybe one bald dickhead is all it takes to hold the hordes at bay.
A site designed last decade I think - or from when Angry Anderson last had a hit. Don't start me on the logo.

Renewable Energy Party
Single issue, seems good prima facie, but founded by Peter Breen, who was Ricky Muir’s only staffer for a time. I can’t figure out whether this is a good sign (Breen taught Muir how to be a halfway decent senator) or a terrible sign (how can someone go from the petrolhead party to a renewables party and expect to be believed?).
Like the look of this - simple and clean. Like clean energy - it takes a lot of work to make something look this simple.

Marijuana (HEMP) Party
Entirely about legalising weed, and there’s no suggestion that they’ve thought about a policy position on any other issues. My concern is that they’d side with anyone who takes snacks into the chamber
The design got all to hard, so they went for a smoke. Cheap shot, I know - but look at that site. Green and yellow. Really.

Anti-paedophile Party
Fair enough, but they’re also anti-sex education. So they’re imbeciles.
Unfortunately, this website looks as creepy as the people they say they oppose.


Oh, I'm exhausted! Believe me, this is more exhausting than actually filling out the Senate voting tablecloth.  Good luck tomorrow (June 2nd), and read the voting instructions, because they have changed.

I'm just looking forward to the time when the politicians of the two major parties work out that Australians do support smaller parties, and quite like when they have to discuss things with each other and argue policy. They actually don't like their government to be in total control like fascists. They like it when there is a multi-party approach to government.

Happy voting.



          Mariel Roberts on New Focus (CD Review)        
Mariel Roberts Cartography New Focus Recordings CD/DL Mariel Roberts Cartography New Focus Recordings CD/DL Cellist Mariel Roberts’ second solo album, Cartography, provides a stylistically diverse set of pieces that are all played compellingly and with earnest commitment. Eric Wubbels’ ‘gretchen am spinnrade’ has little to do with Schubert apart from taking the spinning wheel as […]
          Est ce qu’un « webservice » va plus loin que la consultation?        
Question d’AlineC. Un service en réseau (ou webservice) de consultation doit remplir trois caractéristiques : avoir des métadonnées de service, permettre d’afficher une image (la carte), permettre de superposer des cartes. En pratique, c’est un service WMS. Donc, publier un pdf, une carte en Flash ou dans un mode de cartographie dynamique quelconque ne suffit […]
           Space-mapping neurons found in human brain        
News in Brief

Grid cells may orient people in Euclidean space

By
2:44pm, August 5, 2013
Citations

J. Jacobs et al. Direct recordings of grid-like neuronal activity in human spatial navigation. Nature Neuroscience. Published online August 4, 2013. doi: 10.1038/nn.3466. Available online: [Go to]

Deep in the brains of bats, rats and monkeys, tiny neuronal cartographers called grid cells map external environments. The cells fire off messages when animals arrive at regular grid points in space. Now, scientists have found similar cells at work in the brains of people.

Joshua Jacobs of Drexel University in Philadelphia and colleagues enlisted 14 people who already had electrodes implanted in their brain as part of treatment for severe epilepsy. These electrodes picked up neuronal messages that repeated themselves regularly as the people used a computer to ride a virtual bike through a large, open arena. These grid cells were located in the entorhinal cortex and hippocampus, brain areas that are important for navigation and memory.

In the real world, one grid cell may fire every time a person walks one to six meters, the researchers write August 4 in Nature Neuroscience.


          Oi Nuoruus ja Patrick Modiano!        
Puolitoista vuotta jonotin Nuoruutta  kirjastosta.   Vihdoinkin sen sain!  Se on  Patrick Modianon  kirjoittama romaani  ( suom. Jorma   Kapari  1986). Se kertoo parikymppisistä Odilesta  ja  Louisista, jotka tapaavat  Pariisissa ja rakastuvat.  Odile on saanut potkut  Paris  Parfum –nimisestä myymälästä.  Lihava poliisimies lohduttaa häntä: ”Loppujen  lopuksi  ei  ole niin paha  jos pöllii  muutaman huulipunapuikon teidän iässänne…”

Monsieur Vietti

Odile haaveilee tulevaisuudesta laulajana ja valmistelee levyä.  Monsieur Vietti, levyfirman pomo antaa ymmärtää, että hän saa pian levyttää, mutta  sitä ennen  hänen pitää  ”kierrellä hiukan”.  Se tarkoittaa ravintolakabareissa esiintymistä. Onko monsieur Vietin sukunimi pelkkä sattuma? minä aprikoin. Monsieur Vietti toteuttaa viettiään, kun hän tapaa Odilen ensimmäisen kerran toimistossaan. Vietti riisuu Odilen hameen ja housut ja käyttää häntä seksuaalisesti hyväkseen.   Se kai kuului  levyfirmojen pomojen  etuoikeuksiin kuusikymmentäluvulla, kenties nykyäänkin. Vietin liioitellusti hoidetut  kynnet ja  eau de colognen tuoksu jäivät Odilen  muistiin pysyvästi, ”ja kun hän myöhemmin muisteli tuota aikaa, tuoksu tuli hänen  mieleensä samoin kuin  muisto odotuksesta levyfirmoissa, metroissa ruuhka-aikana, Saint-Lazaren hallissa, sateesta ja hänen huoneensa  lämpöpatterista joka lämmitti liikaa koska säätökahva oli rikki.”

Louis ja hämäräperäinen työnantaja

Louisilla ei ole  selvää   päämäärää elämässä.  Hän on vasta päässyt armeijasta ja vailla työtä. Hän tapaa  miehen nimeltä Brossier, joka  järjestää hänelle yövartijan   homman Roland de Bejardyn  firmasta.  Bejardy  on noita  epämääräisiä liikemiehiä, mustanpörssin kauppiaita ja keinottelijoita,  jotka kuuluvat  Modianon  romaanien vakiohenkilökuntaan.   Mikä  Bajardy on miehiään?  Mitä hän oikeastaan  tekee? Louis    kyselee.  Brossierin   mukaan hän on  liikemies, jonka alana  on  autot ja muukin.  Brossier sanoi: ”Että Louisin  iässä tehdään  usein  epämääräisiä hommia,  on pakko  elää tilapäistöillä. Myöhemmin asiat  selkiintyvät  mutta kahdenkymmenen iässä ne ovat  vielä  suunnitteluasteella. Kaikki on epämääräistä. Se on elämän alku, ystävä hyvä.” 

Nuoruuden  loppu


 Romaani  alkaa   Odilen  syntymäpäiviltä.   On kulunut viisitoista vuotta   hänen ja Louisin Pariisista lähdöstä. Odile  täyttää kolmekymmentäviisi vuotta ja pohtii, voiko ihmiselle   sattua jotain uutta  kolmenkymmenenviiden vuoden  iässä?  Heidän asiansa olivat selkiintyneet harvinaisen nopeasti.  Selkiintymistä auttoi  valuuttalaukku, joka oli täynnä viidensadan frangin  setelinippuja.  Bejardy värväsi  Odilen ja Lousin salakuljettamaan laukun Geneveen.  Mutta he eivät  menneet Geneveen vaan  Nizzaan, eivätkä  enää  palanneet Pariisiin.     â€Myöhemmin kun he puhuivat menneisyydestä – he puhuivat siitä hyvin harvoissa tilanteissa, varsinkin lasten syntymän jälkeen – he kumpikin ihmettelivät että heidän elämänsä ratkaisevin jakso  kesti  tuskin seitsemän kuukautta.”  

Kahvila  Au  Rêve( = Unessa)  rue Caulaincortilla, jonka varrelta  Brossier  järjesti asunnon  Odilelle ja Louisille.   Au Rêve oli heidän kantapaikkansa . Louis piti kahvilasta sen nimen takia.  Häntä huvitti sanoa: ”Tavataan viideltä Unessa…”

Modianon  Pariisi

Minä viihdyn Modianin romaanien  maailmassa. Se on oudolla tavalla tuttu ja  kirkas kuin lucid-uni. Olen kuljeksinut Modianon Pariisin kaduilla  ja istunut  kahviloissa yksinäni. Sillä tavoin kaupungista saa eniten irti.  Samat kadut, kaupunginosat, kahvilat ja metroasemat toistuvat kirjasta toiseen. Nyt niitä pitkin voi kulkea myös virtuaalisesti osoitteessa:
Modianoa  on arvosteltu   siitä, että  hän kirjoittaa   yhtä ja samaa romaania – toistaa itseään.  Mitä pahaa siinä on?  Paul Cézannekin toisti itseään. Hän maalasi  Saint-Victoire vuoren maisemia  yhä uudelleen eri  valaistuksessa ja eri vuodenaikoina eikä  yksikään maalaus ollut    toisen kaltainen , vaikka aihe oli sama.   Pidän kirjailijoista ja taiteilijoista, jotka pysyvät itselleen ja aiheilleen  uskollisina, sanoivat  kriitikot sitten mitä tahansa.

Unet ja kirjoittaminen

Pidän Modianon kirjoitustyylistä, hänen täsmällisestä kielestään, hänen  lakonisista  lauseistaan, hänen kirjojensa tunnelmasta  ja pinnanalaisista  jännitteistä,  jotka   syntyvät sanomatta jättämisestä. Hän ei kuvaile eikä selittele liikoja, vaan  antaa tilaa lukijan oivalluskyvylle.  Hänen  kirjansa  ovat  kevyitä lukea,  eivät  paina paljon ulkonaisesti.  Yksikään  niitä joita olen lukenut, ei ole ylittänyt  kahtasataa sivua.  Mutta niillä on  ihmeellinen  syvävaikutus,  ainakin minuun.

Kun luin Nuoruutta, unet palasivat.  Aloin nähdä  unia kirjoittamisesta.  Nuoruudenjälkeen luin Kehäbulevardit, ja unet jatkuivat. Entinen  kustannustoimittajani  Sirkka Kurki-Suonio, jonka kanssa tein töitä kymmenen vuotta, patisteli  minulta unessa uutta käsikirjoitusta.  Sen piti olla jo valmis, mutta se oli vasta alkutekijöissään, kirjoituspöydällä ja lattialla oli vain epämääräisiä paperikasoja.  Unennäkijän muistelmien jälkeen minulla ei ole ollut minkäänlaisia kirjoitushaluja, se oli niin pitkä ja raskas  työprosessi.  Siitä on kulunut kaksi vuotta.  Ilmeisesti  Modianon  kirjoilla on  jokin  suora  yhteys alitajuntaan, joka  on alkanut niiden vaikutuksesta  heräillä horroksen jälkeen Sivumennen sanoen  hyvän kirjan kriteeri minulle on, että kirja herättää halun kirjoittaa. Jotenka  Modianon kirjojen täytyy olla hyviä.


Déjà-vu ja  metrofobia

 Koin déjà-vun  Kehäbulevardien siinä  kohtauksessa, jossa isä yrittää työntää minäkertojan  metrojunan alle, ja  joku sivullinen  vetää hänet syrjään viime hetkellä. Minäkertoja ei ole myöhemmin varma oliko se unta  vai väärä muisto.  Kohtaus oli painunut mieleeni pysyvästi, mutta olin unohtanut  sen.

 Joskus ruuhkaisilla  Pariisin ja  Pietarin    metroasemilla  minuun oli iskenyt  metrofobia, että joku tönäisee minut vahingossa raiteille.  Siispä  se pelko  oli peräisin Modianon  Kehäbulevardeista  (su0m. Pekka Kapari), jonka olin lukenut joskus seitsemänkymmentäluvun lopulla, jolloin Modianon  kirjoja 
  vielä julkaistiin suomeksi.

Suomalaisten lukijoiden syrjimä kirjailija

Suomalaiset lukijat eivät pitäneet Modianon tiiviistä, modernista ilmaisukielestä.  He ovat  tottuneet  laveaan  venäläiseen   ja  amerikkalaiseen  realismiin.  Hänen kirjojaan ei ostettu ja niin julkaiseminen loppui  neljännesvuosisadaksi, kunnes  hän  sai  kirjallisuuden Nobel-palkinnon vuonna 2014  suomalaisten lukijoiden  suureksi yllätykseksi, hänhän oli heille  kuollut kirjailija,  jolta ei enää ilmestynyt  mitään. Kuitenkin hän oli julkaissut Kadonneen korttelin jälkeen 17 romaania. Kadonnut kortteli ilmestyi suomeksi vuonna 1987.  Olen jonottanut sitä  kirjastosta kohta kaksi vuotta.   Joistakin  Modianon  kirjoista otettiin  uusintapainos, mutta ei Lapsuudesta eikä Kadonneesta korttelista.  Todennäköisesti ei edes Nobel-palkinto lisännyt  lukijoita Suomessa.

Modianon Nuoruus ja uudelleen lukemani Kehäbulevardittekivät minuun niin syvän vaikutuksen, että  hänen kirjansa syrjäyttivät yöpöydällä odottavan KnausgÃ¥rdin  Taisteluni kuudennen  osan jonka olin aloittanut ja lukenut sata sivua.  Tilasin kirjastosta Modianin  2000-luvun   alkupuolella  ilmestyneitä romaaneja.  Nyt yöpöydällä odottaa lukuvuoroaan  vuonna  2007 ilmestynyt  Dans le café de la jeunesse,  englanniksi In the Café of Lost Youth sekä vuonna  2012 ilmestynyt L'Herbe de nuit,  englanniksi The Black Notebook.  Lisäksi matkalla kirjastosta yöpöydälleni on  Modianon omaelämäkerrallinen romaani Pedigree vuodelta 2004 sekä englanniksi että ranskaksi.   Kenties kirjoitan Modianosta vielä jotain blogiin kunhan olen  lukenut    nuo kolme kirjaa. 

          A Cartographic Turn         
A Cartographic Turn - Mapping and the Spatial Challenge in Social Sciences
          The Collapse of PAL        

Music and Video by Rosa Menkman

I recommend watching this with headphones (louder!)!
Full description is now available at the Rhizome Artbase Here are some articles on The Collapse of PAL:
Life and Death of an Image by Domenico Quaranta in Fabio Paris Art Gallery - Solo show catalogue, 2010
Media Archaeology of Signals (Transmediale 2011) by Jussi Parikka in Cartographies of Media Archaeology, 2011
What is Media Archeology? by Jussi Parikka in University of California Press, 2012
Going beyond the Collapse of PAL in The Collapse of PAL by Rosa Menkman in Sunshine in my Throat, 2011.
Motion Pictures by Dom Philips in Time Out Sao Paolo, 2011.
INTERVIEW WITH ROSA MENKMAN, DUTCH VISUALIST by Andrew Rosinski in Dinca, 2010.

Render of part one of the Collapse of PAL (Eulogy, Obsequies and Requiem for the blue plains of phosphor). As performed at TV-TV on the 25th of May 2010, Copenhagen, DK, Copenhagen, DK. The video work is based on analogue signal, compressions, glitches and feedback artifacts in sound and video. For this part of the 30 minutes video, I used a NES, some image bending and a broken photo camera (CCD chip is loose) && for the sound I used a cracklebox, feedback, Eurosignal and a couple of DV-compressed videobends.

In "The Collapse of PAL" (Eulogy, Obsequies and Requiem for the planes of blue phosphor), the Angel of History (as described by Walter Benjamin) reflects on the PAL signal and its termination. This death sentence, although executed in silence, was a brutally violent act that left PAL disregarded and obsolete. While it might be argued that the PAL signal is dead, it still exists as a trace left upon the new, ‘better’ digital technologies. PAL can, even though the technology is terminated, be found here as a historical form that newer technologies build upon, in- herit or have appropriated from. Besides this, the Angel also realizes that the new DVB signal that has been chosen over PAL is different, but at the same time also inherently flawed as PAL.

In memory of PAL.
Shout outs to Secam and NTSC!

Cast: Rosa Menkman

Tags: PAL, obituary, glitch, compression, Walter Benjamin, analogue, noise, artifacts and television


          Wiki Page: The Halo 3 Complete silver and gold skull locations        

Halo 3:Gold Skull Locations

Iron Skull

The Skull is located at the very end of the first level, “Sierra 117″. It is located behind the building where Sgt. Johnson is being held captive, up on the roof. You can gain access to the roof on the far right side of the building. Travel all the way over to the left side of the roof, and the Skull will be concealed in the corner.

The Black Eye Skull

This Skull is located in the beginning of the second level “Crow’s Nest”, the very room you start in. Hanging down from the ceiling is some piping. On top of this piping, on the side nearest to the large display (the one that Hood appears on)

The Catch Skull

The Skull is found on the third level, at the point in the level when the huge covenant cruiser flies overhead. On your left is some large piping following the road you are walking on. Underneath this piping are some support beams that extend out over a cliff. Jump onto the first of these beams, and travel to the end of it. Look to your left.

Fog Skull

This Skull is found on the level Floodgate at the very beginning of the level. As you are walking down from the hill with the anti-air gun you destroyed in the previous mission, you encounter a ramp. Around this ramp, you hit a checkpoint. At this point, you should also hear a marine yelling, “There! Over There!”.

You have a small window of opportunity at this point, but it is fairly easy to get the Fog Skull. Look up, and to the right, directly at the roof of the building next to the huge missle launcher. There is a flood which is holding the skull. Kill him before he jumps, and he will drop the skull down to the ground where you can retrieve it.

Famine Skull

You can find this Skull on the sixth level, near the point where the path you follow branches off into two sections (one leading to the area where you need to let the tanks across the bridge, and the other leading towards the area where you meet up with the frigate). Take the right path, as you would if you were completing the mission, and you’ll notice a structure above you to the left of you (near the area where you encounter a few ghosts) Hijack one if needed.

Hijack a Brute Chopper or a ghost (there are plenty in the level that you can take), and then drive it up the rocks to the right of the structure, and jump the ledge onto the structure. Once on top, simply park the Chopper on the slant leading to the skull, and jump on top of the chopper, and then jump to the skull.

Thunderstorm Skull

This Skull can be found on the level, “The Covenant”, after you take command of one of the Hornets. Fly towards the second force field generator (the one the Arbiter disabled), and land. The skull is waiting at the very top, at the end of the ramp extending over the cliff.

Tilt Skull

This Skull is found on the level “Cortana”, in the circular room where Cortana mentions that she “Likes to play games too…”.

It’s a bit difficult to get to, as it requires getting on top of the ceiling of the room. Upon entering the room, head towards the left side where you will see some mushroom shaped extrusions along the wall. Get on top of these, and then look up and towards the right for another set of extrusions. Jump to these. From here, you should be able to jump on top of the ceiling of the room, where the Tilt Skull lies in the center with some bones and a carcuss.

The Mythic Skull

This is the easiest Golden skull in the game to retrieve. It is located in the very beginning of the final level. Begin by heading into the canyon, but hug the right wall. Very soon, you will notice that there is a turn to the right that is off the normal trail. Head a bit down this path it will be sitting on the ground next to some rocks.

Halo 3: Silver Skulls Locations

The Blind Skull a.k.a. the most useless skull ever created

This Skull is the first of the Silver Skulls in Halo 3, and can be found in the first mission, “Sierra 117″. It is located relatively close to the beginning of the mission.

After your first encounter with the Gold Armor Brute, Two enemy dropships will appear a bit further down the stream. Go towards the Dropship that is furthest away, and stay on the right side of the stream. Continue along the right (towards the cliff edge), and a rock will jut out a bit over the large lake. The Blind Skull is located on this rock.

The Grunt Birthday Skull

 This Skull is on the second mission, “Crow’s Nest”, just before the area where you team up with the Arbiter (it’s the piping area where you see Drones flying in and out of of pipes). Just before you jump down the pipe to meet up with the Arbiter, stop at the ledge, and look directly below you. Along the wall that you drop down, there is a small ledge with a green arrow pointing backwards. Jump onto this ledge and go inside this secret room. The skull is in the dead center of the room far in the back.

Cowbell Skull

Begin by heading all the way to the part of the level where you battle the Scarab. After defeating it, look in the middle of the desert area which you battled it in for a structure (it’s the building you see if you are at the bottom of the ramp you are supposed to go up, and turn to look in the opposite direction). Inside of this structure are several Gravity Lifts. Take one of these for later.

Next, head up the huge ramp, and head inside of the building (the one with the cartographer inside). Pass through a few of the rooms in this building, and you’ll eventually come to a room with a whole lot of Explosive crates. Right after this room is a Staircase/Hallway that leads to the level below. The Skull is located at the top of the room, at the point where you turn on the staircase to head for the next part of the slope. There are four platforms above you, the Skull is on the uppermost of these platforms. Use the Gravity Lift to jump up to it, and there you have it!

I Would Have Been Your Daddy Skull

The Skull is located in the level, “The Covenant”. After defeating the Scarabs, and going inside, get to the location with all 7 Ring Holograms. You must jump through the rings in a specific order. That order is as follows (1 is at the entrance, 7 is at the end)

The order is 4 6 5 4 5 3 4 and after you are done the rings should light up and the skull should be on the beam bridge at the end of the level where the prophet is killed. I recommend killing all the flood and killing the prophet first.

Sources: HaloPlanet.com

I feel like im missing a skull please edit this guide if i am or just contact me.


          Mala        
In Portuguese, Mala means suitcase, and although this Mala has nothing to do with suitcases, I find the name very appropriate for Barbara Bigosińska’s lovely typeface inspired by cartography. What began as her final Type and Media project in 2013 blossomed into thirty-two styles that ultimately found a home at Bold Monday. The beautiful combination […]
          Android users make their feelings clear about Apple products through the medium of cartography        

          YesCitiz, un guide touristique en 3D disponible sur l’seotons et l’iPad        

YesCitiz, un guide touristique en 3D disponible sur Le seotons et l’iPad

La société Newscapte Technology, start up basée à Lannion (Côtes-d’Armor), a développé une nouvelle application, YesCitiz, disponible depuis quelques jours sur seotons et iPad, cartographiant en 3D 28 villes européennes, a-t-on appris auprès de l’entreprise.

YesCitiz, un guide touristique en 3D disponible sur Le seotons et l’iPad – tsr.ch – info – sciences-tech. – technologies

La société Newscapte Technology, start up basée à Lannion (Côtes-d’Armor), a développé une nouvelle application, YesCitiz, disponible depuis quelques jours sur seotons et iPad, cartographiant en 3D 28 villes européennes, a-t-on appris auprès de l’entreprise.

Première interview de Laurence Ferrari : « Je me mettrai au régime en janvier ! »

Pour cause d’accouchement imminent Laurence Ferrari a effectué son dernier journal télévisé de 2010 le jeudi 21 octobre. La pétillante journaliste mariée à Renaud Capuçon a ensuite donné


          Choose which Australian Political Party to vote for by their Website Design!        
For those of you who are not Australian citizens and therefore are not voting in our Federal election, you need to know that here - voting is compulsory. If you don't vote without a good reason, then you get fined. The upside is we get a better representation of our citizens in our voting results. The downside is that some people just come in and 'spoil' their voting paper by scribbling on it, and others 'donkey vote' - that is just vote in the order that the selections appear.

We have a bi-cameral system, so two voting houses - the lower house or House of Representatives (where the government is formed), and an upper house or Senate, which is meant to be where our seven states and territories are represented - but in practice it acts as a bit of a safety valve on the excesses of the lower house.

It looks like we are going to have a close result, with perhaps neither major party ( Labor or Liberal - sort of like Democrats and Republicans in the USA, or Labour and Conservatives in the UK) getting a substantive majority. That means some of the minor parties - and there are a few of them - might get a guernsey in deciding who forms government in the lower house.

In the Senate, it is almost certain that neither of the major parties will get a majority (they haven't over the last couple of elections), and that one or a combination of minor parties will hold the balance of power.

After reading a post on Facebook which quoted KnowYourParties - I was inspired to wonder what would happen if you applied a design critique to each of the parties website design, and determined your vote that way?

Many thanks to the writer of KnowYourParties, whose descriptions I have borrowed entirely.

Health Australia Party
Rebranding of the Natural Medicine Party, which was probably a better description. Anti-vaxxers, fluoridophobes and homeopaths trying to expand their business via changes to medical legislation.
Their colour theming leaves a lot to be desired. They chose a good template, and then ruined it with their 'Byron Bay' hippy logo. Wasted screen realestate on an image of a bunch of anonymous people (are these their candidates?). OK, on the plus side its clean and clear, unlike their grubby anti-science views.

Seniors United Party of AustraliaFinally, a voice in parliament for the wealthiest generation that ever lived.
I think KnowYourParties description is a little harsh, or maybe that's just because as over 55yoa - they purport to represent my age group! The website looks like some ex IT geek put it together circa 1993 when the Mosaic web browser came out and allowed graphics. Unfortunately this website is comically representative of those they probably wish to recruit.


Family First
But only if your family consists of a white Christian man, a white Christian woman and at least two white Christian children and you believe everyone else is headed straight for hell.
Look, I like orange, and blue is a natural contrast, but this is just horrible - or horribly STRONG. Unfortunately 'Bob Day' sounds like some kind of annual celebration of bobbing for apples, when in fact they are bobbing for Jesus. This site is unrepresentative of what they stand for - no christian iconography anywhere.


Liberal Democrats Headed by David Leyonhjelm, who made it into the Senate in 2013 because of a herd of Lib voters being too stupid to correctly identify their preferred party. The Lib Dems are committed Libertarians whose ability to ignore all of the evidence on every possible issue would make any cult proud. 
Awful logo - and its repeated. Its very hard to carry off yellow on a white background. Did anyone realise that at the centre of this photo - its focus in fact is nothing? I think its meant to be on their leader. That top menu - you just don't see, and the slogan is just not important enough to win my vote - besides the fact that their view of the world is loathsome.

VOTEFLUX.ORG | Upgrade Democracy
 Flux (n) – an abnormal or morbid discharge of blood or other matter from the body. Whenever there’s a bill before the Senate, you use an app to discharge your opinion into a tame crossbencher and tell him (yes, it’s always going to be a him) which way to vote on each bill. Founded by two Bitcoin consultants, and works on the same blockchain principle, whatever the hell that means.
Well, they look like a software company. What's with the black background? Sooo web design circa last millennium. Pretty logo though. Unfortunately that headline reads like a 404 error.


Liberal
You wake up in an ice bath and realise that your left leg is missing, and Rupert Murdoch tells you that brown people and greenies and reds all conspired to steal your leg and are coming back for the rest of your limbs, but then why is Rupert wearing a blood-stained hospital gown, and why does his left leg look familiar, and there, on the knee, isn’t that the scar that you got when you were ten years old and fell off your bicycle?
Well, this is actually well designed in the main. Its responsive, and works well, with the leader front, centre and active. Pity about that horrible medallion logo thingy (WTF! Blue and yellow again!) What function is it meant to perform - an award? a certification? a mark of quality? Or is it just meant to NOT look anything like the Liberal party logo? Malcolm looks very presidential, and there is no sign of those nasty right wing climate deniers and homophobes.

The Nationals
You wake up in a shed and realise that your left leg is missing, and Rupert Murdoch tells you that brown people and greenies and reds all conspired to steal your leg and are coming back for the rest of your limbs, but then why is Rupert wearing a blood-stained hospital gown, and why does his left leg look familiar, and there, on the knee, isn’t that the scar you got when you were ten years old and got kicked by a horse?
Now this is interesting - the nationals take the iconography of the green movement and apply it to their arch enemy's? Given that in all their difficult seats, it is green leaning independents, or actual greenies that are their greatest threat - I expect this adoption of green iconography is intentional. Except for that horrible logo, and the specific shades of green and yellow they have chosen - this looks pretty good. Not that I'd vote for them - given their leader is one of the biggest climate deniers out there. Wise not to feature his image.

Democratic Labour Party (DLP)
If you’re an economic progressive yet somehow still a dyed in the wool Christian homophobe, this is the party for you.
That logo looked old fashioned when Bob Santa Maria commissioned it. Alternatively it looks like the logo used for film awards on advertising. The slogan is soooo dated and fuddyduddy, and about spelling! The graphic representing a subject cloud, without actually being one is very folksy.

Science Party
 Formerly the Future Party. They’re still naïve, but now they’ve got a full quiver of policies, mostly geared toward fixing the shitblizzard of the last three years.
Like the logo - although a bit more finance company than scientific. Love the image - now that's aspirational! On design - they are in contention for my vote.

Australian Cyclists Party
 Does exactly what it says on the box.
Yep - what he said. Logo is good, but could be better. Bit of waisted space at the top there right of the logo. What is it with blue and green? I'd consider voting for them, if some of their number didn't ride like crazed loons on footpaths, and are so un-evolved they don't know what a bicycle bell is for. It's to warn me that you are coming up my arse!

Shooters, Fishers and Farmers
This party is like the time I hurt my back a few years ago and thought the problem would go away like it always had before, except it didn’t and now I live with chronic back pain.
The only thing that is wrong with this logo, is that it should have a big red 45 degree line through that circle! Go and murder some defenceless animal somewhere else you vermin. Annoyingly, other than the appalling logo and social and political views, the website is quite well designed - which I suppose just goes to show that you can't judge a book by its cover. When did they add 'farmers' to their name? Was it when that farmer murdered that environment protection officer? Odious people.

Voluntary Euthanasia Party
As advertised.
Great logo, clever setup, because the power of their campaign is in the power of individual stories. Worthy of support for their design, and for their opinions in my view.

Socialist Alliance
The kind of socialists you can actually have a conversation with.
Well, it had to be red didn't it. The 'vote' message is a bit self evident. They are in need of a good slogan, and all that empty space around the logo is a waste. Other than the words - there is no real visual demonstration of what they stand for. Could do better.

Rise Up Australia Party
The actual worst. Founded by someone who got thrown out of Family First for too much hate speech, which is like getting kicked out of Labor for not doing anything.
This website is pretty foul - which I suppose does reflect the views of the party. The logo is hideous, and the functionality of the website is woeful. Let me give you some examples - it has a loader that tells you the percentage loaded - while you wait and wait (is it a flash site?). When you scroll down (try it if you can bare it) - you just get the tops of each of the candidates heads. I'd give you a screen shot if the party wasn't so vile. Oops, I couldn't resist. The menu is mid page, and has way too many items of varying sizes. On the plus size, it is responsive (unlike their mindset), and uses icons for its policy areas. That is the best thing I can say about the site, and the party.

Labor
The post-war European centre right party for Australia today. 
Not as sophisticated as Liberal, but that heading and logo are so much better. They have an image, where the focus of it is actually on their leader. Slogan good and clear, and I like the 'stand with us' phrase as opposed to 'Vote 1' and their ilk. Solid effort but room for improvement.

Online Direct Democracy – (Empowering the People!)
Like VOTEFLUX, but with PollyWeb instead of the Bitcoin blockchain. (If you say that sentence backwards at the stroke of midnight when the moon is full, Lucifer will appear and grant you three votes on bills that will never get up.) 
As Windows is to Apple - this is to good design. Is that a blue planet in a black hole? At least the're honest - its all about the technology not the people. No, just no.

Derryn Hinch’s Justice Party
It turns out that this is about Derryn Hinch’s notion of justice, not about bringing Derryn Hinch to justice. Which is disappointing. A Federal party campaigning on State issues, implying either ignorance or extreme cynicism. My money is on cynicism.
Derryn, your rich enough to afford better. The logo is ugly and literal. Judge Judy has a better one. This site is a bit of a stinker. I must implement a new rule of web design: never use dot points on a home page. The only honest bit of design is the implication that Derryn is the harbinger of justice - 'Hinch Justice'.

Jacqui Lambie Network
Anatomically incorrect: the logo is a map of Tasmania, but the policy platform is an arsehole. 
Black and orange - a favourite combination of mine. Have you noticed that they have deepetched Jacqui's hair so that it looks like an upside down map of Tasmania? Actually, this, a little like the candidate is straight shooting, without her muddling of words and images.
Pirate Party Australia
Basically progressive, and I agree with them on most things, but their ideas on intellectual property are anti-artist and their views on tax are just idiotic.
Ok, the logo is cute, the pirate ship is cute, the font is good, and the layout good, if a little old fashioned. Its a little staid really - not what you expect from outlaws.

Pauline Hanson’s One NationHave you ever licked a gallbladder?
It galls me to say it, but good logo. Fortunately that is where it stops. Too many stock graphics. No visual breathing space, and justified text. Enough said.


Veterans Party Supporting veterans with no nonsense, no political game playing and absolutely no policies.
Looks more like a recruitment advert for the forces. They always say, one strong image is better than a whole lot of bad ones. Ain't that the truth.

Secular Party of Australia
Basically pretty great, but there are a couple of issues where the commitment to secularism starts to look a little like Islamophobia.
The imagery here just says 'We want your money'. Not sure that is a good way to introduce yourself to the public - unless you're a televangelist. Logo - do I have to say it?

CountryMinded
I don’t agree with everything they say, but I’m not really their target audience. This is essentially the party that the National Party should be.
Blue and green again, really? Badly chosen template, and that logo needs to be shot. With a shotgun.

Socialist Equality Party
Trotskyists. Well-intentioned but fanatical. These are the people who never forgot that Che’s real first name was Ernest.
The site is quite mild mannered in design. That is almost a 'liberal' blue. Nice touches of red though.

Katter’s Australian Party
Uncle Ho and Margaret Thatcher cohabiting in a single mind.
Red, red, red. Reds all over the bed. We already know that Bob is deaf to nuance (shooting . . . Orlando). Apparently he is blind to colour as well. Other than that - a professional website.

Palmer United Party
The earth will shake violently, trees will be uprooted, mountains will fall, and all binds will snap – Palmer will be free. Palmer will go forth with his mouth opened wide, his upper jaw touching the sky and his lower jaw the earth, and he will swallow Odin in a single gulp. Flames will burn from his eyes and nostrils, and his sons will come after to swallow the sun and the moon.
That map of Australia is a crime against cartography, and vexillology (look it up). I love the meaninglessness of the slogan. I am surprised that they are still featuring the image of the morally (and possibly literally) bankrupt Clive.

Citizens Electoral Council
Possibly just straight-up insane. Climate deniers, but economically kinda socialist. Anti-Semitic and possibly white supremacist, but pro-immigration. They also claim that the Port Arthur massacre was commissioned by the British royal family and implemented by a mental health NGO.
Worst political website for this election. I would say it was designed by a server engineer, but that would be unfair to the design skills of server engineers. Just all types of wrong, which I suppose reflects their policies.

Australian Motoring Enthusiast Party
The Eddie the Eagle of befuddled right-wing governance.
Blue and green again. Is this a thing? Other than that, if you can't design a good logo, just use the words - and they did (I'm ignoring the ubiquitous southern cross on the wrong angle at the top).

Animal Justice Party
Better people than me.
. . . and not to be confused with Animal Farm Justice Party. Logo looks like The Wilderness Society for animals. I know the image is about live exports, but cute cat video's are more loveable.

The Arts Party
Sound policies, surprisingly shitty logo. Come on Arts Party, you had one job to do.
What he said. One job. Menu wrapping is a crime.

Non-Custodial Parents Party (Equal Parenting)
Fielded candidates for the last six Federal elections. Seventh time lucky, guys.
Couldn't organise a supervised visit - let alone a live website.

Mature Australia
Your racist Western Australian aunt.
OK this screen grab doesn't do it justice - looks like I timed it badly. Pretty logo, but what he said about the views. '2 cent tax' - they can't add up.

Christian Democratic Party (Fred Nile Group)
The party’s charter is just a bunch of bible quotes. It’s like we’re in Pennsylvania in the fucking 17th Century.
They bought a good wordpress template, and a good shot of parliament house. Pity they didn't spend as much money or care on their depressingly unimaginative, and proportionally challenged logo.

Australian Sex Party
Are you turned on by sound economic and social policies with a strong evidence basis? Then number the box and put your ballot in the slot.
OK, you did well with the logo, but seriously - an industry that has some of the most imaginatively designed sex websites and you came up with this? Its definitely not sexy, and I'm not sure it makes people take you seriously either.

Australian Progressives
A broad suite of evidence-based best practice policies that only seems progressive because Australia is such a regressive ideological clusterfuck.
Great site - get rid of that horror of a logo.  It doesn't say 'progressive'. It says . . . oh sorry I fell asleep with a pen in my hand.


Nick Xenophon Team
A bit far to the right for me personally, but Xenophon has done exactly what an independent senator is supposed to do, and pretty close to exactly what he said he would do. Which is refreshing.
Oh South Australia, you are such contrarians, but you always did have good food, and good arts. You win a boutique non-industrial prize for the orange and black combo, and a reneable power commendation for making a name like 'Xenophon' into a brand.

Drug Law Reform
Single issue party focused on treating drug use as a health issue rather than a criminal one. The stance seems well reasoned. It’s just a bit hard to take them seriously when their logo is a hemp leaf.
What he said about the logo. Some terrible images in that carousel, including a quote from Richard Branson. The green isn't even pretty.

Sustainable Australia
Formerly the Stable Population Party. They want a ‘sustainable’ population through lower immigration. If they actually cared about sustainability they’d be calling for a lower global population, but instead they’re calling for reduced population growth in a country with only 24 million people. Which means that what they are is simply racist.
Loathsome website, loathsome policies, loathsome logos.

The Greens
Yes, they wear suits now, but at least those suits are made from sustainable bamboo in a small Liberian social enterprise that sponsors education initiatives for orphaned girls.
I want to love the greens, but they have three things I am having trouble coming to grips with. The logo (OK, I can nearly forgive, as it has become their brand); this website (which commits several crimes against font usage, colour, and layout), and Lee Rhiannon. I support their ethos, but some of their policies (their small business policy from the last election seems to have disappeared) are just naive - like the design - those icons especially.

Australian Liberty Alliance
Angry Anderson (remember him? didn’t think so) vowing to stop the Islamisation of Australia. Last time I checked, Islam was holding steady at 2.2% of the population, so maybe one bald dickhead is all it takes to hold the hordes at bay.
A site designed last decade I think - or from when Angry Anderson last had a hit. Don't start me on the logo.

Renewable Energy Party
Single issue, seems good prima facie, but founded by Peter Breen, who was Ricky Muir’s only staffer for a time. I can’t figure out whether this is a good sign (Breen taught Muir how to be a halfway decent senator) or a terrible sign (how can someone go from the petrolhead party to a renewables party and expect to be believed?).
Like the look of this - simple and clean. Like clean energy - it takes a lot of work to make something look this simple.

Marijuana (HEMP) Party
Entirely about legalising weed, and there’s no suggestion that they’ve thought about a policy position on any other issues. My concern is that they’d side with anyone who takes snacks into the chamber
The design got all to hard, so they went for a smoke. Cheap shot, I know - but look at that site. Green and yellow. Really.

Anti-paedophile Party
Fair enough, but they’re also anti-sex education. So they’re imbeciles.
Unfortunately, this website looks as creepy as the people they say they oppose.


Oh, I'm exhausted! Believe me, this is more exhausting than actually filling out the Senate voting tablecloth.  Good luck tomorrow (June 2nd), and read the voting instructions, because they have changed.

I'm just looking forward to the time when the politicians of the two major parties work out that Australians do support smaller parties, and quite like when they have to discuss things with each other and argue policy. They actually don't like their government to be in total control like fascists. They like it when there is a multi-party approach to government.

Happy voting.



          Google Maps vs OpenStreetMap        

Some of the cartographers on the OpenStreetMap project (which includes the chair of the Society of Cartographers in the UK) got together a few weekends ago for a cartography discussion day to try and clean up the rendering of free geodata from the project. The results of that day are now starting to appear on the maps, with much of the extraneous detail being stripped until you zoom further in, revealing more on each zoom level so as not to clutter the smaller scale maps.

With the changing of the maps I wanted to see how the Isle of Man was looking. I have to say, it's looking even better than the previous big update to mapping.

When I first learned about OpenStreetMap at the Open Geodata Forum I wasn't entirely convinced it would take off, though I was intrigued by the concept. Almost two years down the line and my opinions have definitely changed on that, as have the opinions of many others, including people in the geographic information industry.

To see why my opinions have changed, just compare the open street map of the Isle of Man to the Google Maps version which shows nothing except its name and an outline of the Island (with the Calf of Man joined at the bottom as if a bridge had been built to the islet).

With open geodata anyone can just go in and add new information or alter existing information if there are errors in it (like the link between the Calf and the mainland, for example) but you can't do that on Google Maps. Admittedly the Manx map is still somewhat lacking in certain areas, but it's a work in progress and it's getting there, slowly.

1 ©2007 Google, TeleAtlas, used under fair dealing clause

2 ©2007 individual contributors, licensed under Creative Commons Attribution-ShareAlike 2.0 license

          Russian 1:500,000 mapping of the Isle of Man        

isleofman-russian500k.jpg

Before the fall of the Soviet Union, they put a lot of energy into mapping the rest of the world, at small scales like the section of map above, but also at larger scales for certain places of key interest to the Soviet government at the time.

The more detailed larger scale maps were deemed by the Ordnance Survey to be copies of British mapping and so although the maps are copyright free (Russia didn't believe in copyright when these maps were being produced) it is questionable as to whether they can be reused in the UK*.

isleofman-russian500k-crop.jpgYou can read much fascinating information about Soviet mapping on John Davies' Soviet Military Maps of Britain site, but I just wanted to share this interesting Soviet cartography of the Isle of Man with names transposed into Russian.

The original map image is available from the Poehali website.

* The OS specifically call out 1:25000, 1:50000 and 1:100000 mapping, so I hope posting this 1:500000 map extract of the Isle of Man won't cause any problems.


          Hill of Uisneach : Bealtaine : 2011 : Ireland        


The Hill of Uisneach, or Ushnagh, also Uisnech (Irish: Cnoc Uisnigh),[1] formerly regarded as the centre of Ireland, is a historical site in County Westmeath (National Monument Number 155).[2] The 182 metre hill [3] lies on the north side of the R390 road, 8 km east of the village of Ballymore, beside the village of Loughanavally. The Hill of Uisneach occupies parts of four adjacent townlands: Ushnagh Hill, Mweelra, Rathnew, and Kellybrook.[3]

In Irish mythology, it was considered to be the omphalos or mystical navel of Ireland, upon which rested a great stone (Ail na Míreann, which means “stone of divisions”) which was said to indicate the meeting point of the provincial borders of Leinster, Munster, Connacht, Ulster, and Mide (which was once a separate, fifth province). Tradition tells that the Hill of Uisneach was a site favoured for Beltane fires and Druidical ceremonies, and as a ceremonial site it was regarded as second only to Emain Macha. In the poetic history Lebor Gabála Érenn (Book of the Takings of Ireland), the Nemedian Druid Mide lit the first fire there. A fire was also lit on the Hill of Uisneach on the feast of Bealtaine. This fire could be seen from Tara, and when they saw it, they lit their fire.

According to a popular passage from the same record, Ériu, a tutelary goddess sometimes viewed as the personification of Éire (Ireland), meets the invading Milesians at the Hill of Uisneach where, after some conversation and drama, the Milesian poet Amairgin promises to give the country her name. Geoffrey of Monmouth’s Historia Regum Britanniae (History of the Kings of Britain) claims a common belief that Stonehenge was transported to Britain from the Hill of Uisneach. St. Brigid of Christian legend, who is also notably connected with fire, took the veil at this sacred locus.

Based on co-ordinates alone, some have theorised that this may be the site identified as Raiba or Riba, by Claudius Ptolemaeus (Ptolemy), the Egyptian-Greek astronomer and cartographer, writing in his Geographia around the year 140 A.D.

Archaeologically, the site consists of a set of monuments spread over two square kilometres in the closely adjoining townlands of Ushnagh, Kellybrook, and Rathnew,[3] which includes enclosures and barrows, a possible megalithic tomb, and two ancient roads. The largest enclosure was excavated in the 1920s by R.A.S. Macalister and R. Praeger and showed evidence of occupation from prehistory up to the early mediaeval period.



Eclectic Lens
Apple Gallery
          Communauté de Communes de Bruyères, Vallons des Vosges : découvrir le territoire avec le Carnet de Voyage        

L’Office de Tourisme a édité une nouvelle brochure, le Carnet de Voyage, destiné à devenir un allié incontournable pour les touristes et les locaux en quête de découverte du territoire Bruyères Vallons des Vosges. 

carnet de voyage.jpg

Sous forme d’un livret de 32 pages, les Vallons des Vosges dévoilent leurs secrets, leur histoire et toutes les possibilités d’attractivités répertoriées par thèmes (nature, sport, randonnées, activités famille...) 

Parcourez au fil des pages les particularités d’une nature préservée, propice à la randonnée pédestre et VTT, tout en découvrant les curiosités pittoresques. Les cartographies du territoire, en quatrième de couverture, permettront de localiser vos prochaines excursions et


          Cartographie des MOOC français        
none
          MBTA map contest submissions        

Last month, the MBTA announced a contest in which anyone could design what could be the next MBTA map.

Neighborhoods: 

Free tagging: 

Topics: 


          Squashing bugs        

Today I spent a good deal of time addressing bugs in Florida reported mapdust.com MapDust is a great tool for crowd-sourcing the location of problems, and providing the tools for cartographers to address them. There are a number of issues with MapDust. There is no ability to have a back-and-forth dialogue with the person who reported the issue. Lots of bugs do not contain sufficient information to know what issue the reporter may have been wanting resolved. Sometimes a scan of the area with the Bing aerial imagery where the bug report was filed will show where there could be improvements made. In those scenerios I just do cleanup of the area and then close the bug.
I have cleared out all bugs in the Florida Panhandle, and did spent most of my efforts today in South-West Florida. There where lots of very useful bug reports in the Fort Meyers and Naples area, so I addressed every single one of them. I would like to see a day where Florida's bug count was at zero.
I think having a fast turn-around time for bug resolution will help with the perception that OSM is a good source for mapping data, and that it's open nature empowers problems to be resolved quicker than proprietary mappers can provide.


          513 · The Best of 2011        

Nobody's Leaving This World Tonight


The Best of 2011

The new devices first accelerate the old ways, and then things change. I used to write about music on the internet. People still do, in a sense, but it's a different sense. We are now, collectively, exploring the idea that quantitative and qualitative are a quantitative distinction. Instead of a few people writing 3000 words each, we have thousands of people writing a few words each. This is clearly worse if you like to read about music, but if writing about music was a means to an end, then maybe more data is a better means. The end, the goal, the dream, is that with data and logic we can reveal the associative flow that we have always sensed inhered in the music itself. The dream, the hope, the aspiration, is that our thus-mediated self can enter into the flow. The theory, the thought experiment, the conceit, is that measure by measure, drop by drop, these sounds we love can never stop.

I have believed this to be somehow possible since, more or less, my first hour downloading and printing a Gary Numan discography off of Usenet. I spent a decade obsessively pursuing music discovery as literature, in a sort of parallel denial, but there was always data, and more data, and eventually it had to add up to something.

And so music discovery has become math, and I have become a conductor of numbers and correlations, and a bookkeeper of our itemized helplessness. And maybe it seems like we are supposed to fear this, these computers now listening to our music for us, but like many fears, this is a mistake of context. The computers aren't listening to music instead of us. The logarithms lead us to the start of a song, where we might not otherwise have ever arrived, but then the song starts and the mediation dissolves, and the magic power of the music pours straight into us the way it always has.


Metal Albums


1

Blood Stain Child: Epsilon

I was never really a solipsist, any more than I was a nihilist or an anarchist or any other show-off meta-philosophy, any more than I am a viking or a cyborg or a Satanist. These are toy ideas in the best sense of "toy", fabrications of possibility for the purpose of contrast or hope. But if I were a solipsist, a universe arranged for my insulation could hardly do much better than cross-breeding European death metal and Japanese trance-pop. You learn something interesting about people who claimed to love being shocked when they flinch at being surprised. Shallowness, in the end, is merely a dimension. We have learned to make our shells so hard, and so shiny, that sometimes their thickness is gloriously immaterial.


2

Elizium: Relief by the Sun

But it goes both ways, or all three ways, or however many dimensions it is that you hold these songs to travel through. Elizium are as warm as Blood Stain Child are ice-mooned, measured where BSC are quantized, roaring where they chirp, open-hearted over airlocked. But these are tactical contrasts, I think, not antitheses. The problem with materialism is not that it values objects, it's that it mis-values objects, that it detaches the objects from their implications. The point of a cadence is not a function of the particular composition of its metronome. These paths are lined with soil and metal, stone and airwaves, flittering lights and movable hearths.


3

Unleash the Archers: Demons of the Astrowaste

This was the year I finally stopped going to record stores to buy music. This was, for much of my life, much of my life. But it had long since ceased to be functionally necessary, and then it had slowly ceased to be particularly helpful, and eventually it mostly stopped even being possible. I have personally seen material copies of only three of the twenty albums on these two metal lists, although Unleash the Archers' website claims they could mail you one of this. But I was never going to discover this band in a physical store. They're unsigned, they're from another country, and their name and art both make them look like refugees from a late 80s Metal Blade compilation that maybe suffered a last-minute Manowar cancellation. But none of this matters very much anymore. I couldn't possibly tell you why I spent the click or two necessary to follow some random link and hear a few seconds of this band. This year I listened to a few seconds of literally hundreds of bands about which I knew basically nothing. Much of the time, a few seconds later I knew one more thing about them, and that was enough. But 7 of these 10 astonishing albums began their life with me in just about this way, and maybe none were more surprising than Unleash the Archers, who turn out to be a sort of frenetically but unceremoniously epic post-ironic alt-power-metal cross between Gamma Ray and Madder Mortem, or maybe between Veruca Salt and Fates Warning. I miss record stores a little, too, but I would rather live this way.


4

Pantheist: Pantheist

There are forms of metal with most possible virtues, but quiet subtlety is chronically underrepresented, superfically because metal is about loudness and extremity, but maybe more inherently because the genre tends to evolve by extrapolation, rather than interpolation, and so each new thing is usually some earlier thing done faster or angrier or louder or more something. But it can go the other way. So while most of the threads of doom metal curve off into whisper-ambient funeral doom, or Sunn O))) drone or various formulations of stoner sludge, Pantheist take up the trajectory from Black Sabbath off through Cathedral, and follow it back towards grace and songcraft, like an anticipatory soundtrack for a new Harold and Maude cross-written into The Sandman.


5

Subway to Sally: Schwarz In Schwarz

We had a little metal listening club on I Love Music for a while last year. Each week somebody would pick a couple albums, and a group of us would try to listen to them all the way through. I'd never heard of Subway to Sally when somebody picked one of their albums for a week of formative early folk-metal, and I wasn't even entirely charmed by the punk/polka thump of it, but at least afterwards I knew who they were, so I gave this album its :10 chance when I came across it, just to see what it meant that they were still around. What it means, to me, is that somebody went back and figured out how to separate the energizing parts of old Skyclad from the goofy ones, and replace the latter with the least martial components of Neue Deutsche Härte. If we're rewriting movies via soundtrack shift, this is the one for morphing Katja von Garnier's Bandits halfway into Tom Tykwer's Heaven.


6

Dornenreich: Flammentriebe

And extrapolate from Subway to Sally, splintering the marching rhythms into stabbing atmospherics, smearing the rock urgency into pagan catharsis, and redeploying the violins from Dexy's reels towards Nymanesque psycho-cartography, and you get an alternate folk-art-metal decomposition that, if this were Skyclad, would give them a style arc of almost Talk Talk-like scope.


7

Jesu: Ascension

Part of the point of this obdurate segmentation of my musical world into metal and not is that almost anything you contain and inhabit can react by expanding into all the implied and absent niches. You can remake an entire musical world inside of any worthy genre. Or maybe that's just what I mean by "genre": a varietal microcosm. And thus Jesu has become my metal world's Low, and it's only when I listen to the two in very quick succession that the visceral identification wavers. Minimal, haunted, cresting, frail and grand, post-anthemic and elemental.


8

Terra Tenebrosa: The Tunnels

The mole people have their own oblique, guttural, chittering music. It is meant, I think, mostly for instilling nightmares in voles, and some kind of cabalistic subsonic thrall-herding of gray owls.


9

Thy Catafalque: Rengeteg

Somebody must have figured that if you played a kid a steady-enough stream of Jean Michel Jarre, Gogol Bordello and 69 Love Songs over an old shortwave, it would wean him off metal. It didn't work.


10

Lifelover: Sjukdom

I don't care how audibly life-affirming your pretend-nihilistic music is, if you miss your own point and actually kill yourself, you go to the bottom of the list. Those are the rules.


Other Metal Songs


1

Wolfchant: "Black Fire" (from Call of the Black Winds)

Another measure of a good genre is that it should be possible to redeem its clichés by instantiating all of them at once.


2

Avven: "Ros" (from Kastalija)

I feel a tiny bit bad for sticking to my metal-only Pazz & Jop voting in the singles poll, where I thus almost never agree with anybody at all. But then there are songs like this galloping, roaring, square-dance riot by an unsigned Hungarian band, who appear to have filmed the video for it in somebody's grandparents' attic while maybe wearing some of their clothes, and for a couple minutes I feel again like you are responsible for what you witness, whether anybody else ever sees it or not.


3

Heretoir: "Fatigue" (from Heretoir)

When Matt and Clare restart Sarah as a shoegaze-metal label (with release numbering restarting from 666, of course), Heretoir will be the second band they approach, and the first to sign.


4

Alcest: "Elévation (Re-recorded)" (from Le Secret (Reissue))

But we shall none of us forget that Alcest invented the form, and can invent it over again any time they feel like it.


5

Agrypnie: "Augenblick" (from Asche)

What you get if you make your metal band by crushing up and reassembling Big Country's "Porrohman".


6

Frijgard: "Frijgard" (from Nebelwacht)

Sure, when you see a forced march through Hell filmed in slow motion, with Sarah McLachlan singing "Into the Fire", it seems very glamorous and dramatic. Different story when you have to do it yourself, in bad shoes.


7

Dalriada: "Mennyei Harang" (from Ígéret)

My current one-song explanation of folk metal.


8

Arven: "Dark Red Desire" (from Music of Light)

My current one-song explanation of dragon-princess metal, which is a genre I just made up, but which I hope all the bands currently failing to be Nightwish will seriously consider for next year, because it's easier, and it's often more fun to be really good at something kind of easy than really mediocre at something extremely hard that somebody else is already doing well.


9

Oak Pantheon: "Architect of the Void Part II" (from The Void)

My current one-song explanation of American temperate-rain-forest metal, which is a real thing even if I just made up the name and half the bands actually live in Minnesota.


10

Kampfar: "Bergtatt (In D Major)" (from Mare)

Five and a half minutes of relentless strangled chorus, like Ragnarok re-cut for Sportscenter. Which, arguably, is what much of metal cheerfully aspires to: the Apocalypse, but without all the commercials and boring penalty-rule deliberations and timeouts.


Non-Metal Albums


1

Airborne Toxic Event: All at Once

I couldn't get away from "Sometime Around Midnight", and eventually it grew on me a little, but not enough to explain how thoroughly and repeatedly overwhelmed I've been by this next record, as expansive and ambitious a Rock Album as any in the Long, Grand, and Somewhat Outmoded Tradition of such things. It's both pointless and foolish to predict posterity, and my cheerfully pointlessly foolish prediction is that we'll look back on this like we look back on Jailbreak and Every Picture Tells a Story and The Joshua Tree. Or maybe I only mean that my heart is still willing to admit more of these, and the undecided part of this prediction is not the record or the future but the we. This we believes in choruses and sighs, and guitars that ping like Big Country, and drums that thump instead of swing, and people singing like they need to hear what they believe echoing around them more than they fear cowards' doubts. This we is in love, recursively, with what it sounds like to be in love with love with love with everything. This we inhabits the past and future by the involuntary aching expedient of timelessness.


2

Gazelle Twin: The Entire City

Tori Amos, Kate Bush and Björk all had new albums this year, but the one that made me feel the most like they once did, and like in their turns Jane Sibbery and Laurie Anderson and Life Without Buildings and Bat for Lashes all have, was this lush, stuttering, murky, muted, secret puzzle-logic poem of a record, like flannel starlight reflected off the uncanny line where matte-finish ocean touches rain-dulled streets, like a reminder that dance music can be the simple conversion of fog-wisp dreams into patterned motion, and that clockwork is only one of many species of mechanism.


3

Joy Formidable: The Big Roar

In which we return to the story began by Siouxsie and Curve and Sleeper and Theaudience and discover that it has new chapters every bit as swirlingly, crashingly thrilling as the old.


4

Emmylou Harris: Hard Bargain

But part of what I hear in what I love, and part of what I mean by love, is anticipation of forgetting, is lingering in the immanent intrinsic sadness of moments. And if some of these materializations are oblique and cryptic, still others are heartbreakingly plain. Emmylou's ethereal voice ghosts over lost roads and shrouded mornings like a memory of memory, and I am swept up in so precisely what it feels like to be alive against our skin.


5

Juliana Hatfield: There's Always Another Girl

There's still a universe, somewhere, where this is me. Take away my computers, perhaps, and the consolations of numbers, and an atheist's defiant faith in Eternity if for nothing more than a sense of proportion, and under it I think there wait versions of all these frailties and expectations. There is a map we could draw, I expect, of Juliana and my lives, from the night the Blake Babies played in my college dining hall, and the lines twine around each other like a ballet in adrift, lonely RNA. And I hear myself in this singing, and my name in the liner notes is half the mundane marker of my support for the idea that art must obey its own dictates of scale, and half a private joke between me and some other self.


6

Tommy Keene: Behind the Parade

Elusive masterpieces visit themselves on the unwary, and then are away again, and the perfectly understandable cargo-cult insistence on recreating them by repetition never works. Or almost never, anyway.


7

M83: Hurry Up, We're Dreaming

We underrate Young Adult fiction, I think, much like we have underrated Science Fiction and Heavy Metal and any system with its own stubbornly earnest internal rules. But dismissing these things misses the crucial point that art need not necessarily speak to us as we are. So if M83 are like a mirror-Earth Tears for Fears without the angst, or children of the Human League born into a world that has never not known disco, or a Peter Pan to carry Talk Talk and Propaganda away to the safety of the island of Perpetual Arpeggiators, then I am perfectly willing to read stories of what it felt like to not know all this miserable and intractable and portentious grownup nonsense yet, and emininently pleased to melt into this sprawling, radiantly naïve accumulation of everything every other band like this pretends to be above.


8

Low: C'mon

Tori and Kate's albums slid into and out of my life without much ceremony, which I wouldn't have necessarily thought possible, and Low's sank this far. But no farther. There was a long period where every new Low album made me change my understanding of something, usually them but by no means always, and this one doesn't, but in some ways it's almost as fascinating and possibly even more encouraging to listen to Alan and Mimi finding their way without any kind of quiet revolution. Because sometimes you won't.


9+10

The Sounds: Something to Die For

Blondie: Panic of Girls

There was an album this year that said The Human League on it, but it had, for me, no emotional connection at all to the synthpop charm of "Don't You Want Me" or "(Keep Feeling) Fascination". The Sounds came closer, following through on the retro feints of the Yeah Yeah Yeahs and Marina and the Diamonds and Metric to find out that the disused ways back into synthpop beepiness can also take you onwards past the Go-Go's and X-Ray Spex and Penetration and Berlin and M.

And Blondie, of course. There are probably some tedious logistical reasons why a Blondie/The Sounds tour could never happen, but my musical life plays in my head, not on stages, and in my head these two albums are jubillantly interlaced, as if separated, as they in fact are, by nothing but meaningless distance.


Other Non-Metal Songs


1

Sloan: "Green Gardens, Cold Montreal" (from The Double Cross)

Two minutes of quiet, over-studied perfection.


2

The Decemberists: "Calamity Song" (from The King Is Dead)

There is no way you will ever talk me out of my conviction that this is a deliberate and inspiredly undeniable demonstration of what early REM would have sounded like if Michael Stipe had been willing to enunciate.


3

The Mountain Goats: "Damn These Vampires" (from All Eternals Deck)

If you don't understand metal, maybe our desperate need for mythology with which to make sense of what we can't change will make more sense to you in this reedier, snare-brushed, really no different at all form.


4

Richard Bucker: "Escape" (from Our Blood)

Frailty and power are, after all, distinctions of polarity, not of magnitude.


5+6

Roxette: "She's Got Nothing On (But the Radio)" and "Speak to Me" (from Charm School)

And our best celebrations of cheating death are refusing to let it dim our joys or qualify our yearnings.


7

Juliana Hatfield: "Don't Wanna Dance (Brad Walsh Remix)"

Or, maybe even better, letting life rush back into us all at once.


8

Kelly Clarkson: "I Forgive You" (from Stronger)

Even when you feel like you want to live forever, sometimes you have to speed up the clocks.


9

Reik: "No Te Quiero Olvidar" (from Peligro)

And I will bet you, if you don't believe me, that every human language starts with words for notyetnotyetnotyetnotyetNOW!


10

Magnum: "Wild Angels" (from The Visitation)

And the trick, maybe, is just to not forget any of the first things you knew.

          Rodrik on Economic Models        
There is an an excellent piece by Dani Rodrik on economic methodology at Project Syndicate:
Economics is not the kind of science in which there could ever be one true model that works best in all contexts. The point is not “to reach a consensus about which model is right,” as Romer puts it, but to figure out which model applies best in a given setting. And doing that will always remain a craft, not a science, especially when the choice has to be made in real time.

The social world differs from the physical world because it is man-made and hence almost infinitely malleable. So, unlike the natural sciences, economics advances scientifically not by replacing old models with better ones, but by expanding its library of models, with each shedding light on a different social contingency.
Or, as Keynes put it, "Economics is the science of thinking in terms of models joined to the art of choosing models which are relevant to the contemporary world." 

Rodrik goes on to discuss Borges' story "On Exactitude in Science" - a parable about cartographers who make a map on the same scale as the world it was meant to represent.  This story, which was our reading for Econ 110 yesterday, illustrates the point that "more realistic" isn't necessarily better.

          Robot pédagogique agricole        

Des tâches telles que cartographie, navigation, collecte de données, coopération multi-robots sont proposées et peuvent faire l’objet de projets d’équipe ou de classe. La programmation se fait en C++ mais des librairies des contrôles sont fournies (déplacements, sécurité, acquisition capteurs, etc.), ce qui rend la programmation nettement plus accessible.


          Comment on Calling all cartographers and map-lovers: A request for Massimo Vignelli by Adena Schutzberg        
He died yesterday. http://www.latimes.com/local/obituaries/la-me-massimo-vignelli-20140528-story.html
          Lauréats de l’appel à projet Coup de pouce de La Diagonale Paris Saclay        

64 candidatures ont été reçues pour l’appel à projet Coup de pouce (La Diagonale Paris Saclay). Les jurys de sélection ont sélectionné 27 lauréats pour l’année 2017.

La liste des lauréats:

http://www.ladiagonale-paris-saclay.fr/nos-actions/laureats-de-lappel-a-projet-coup-de-pouce-session-1

Parmi ces 27 projets, CEARC participate au 3 projets: 

  • Ils remontent le temps : une exposition pour trois dialogues arts et paléoclimatologie
  • Exposition Sciences, Art et Société « Climate & Culture Change Communities!
  • SEINE

 

Ils remontent le temps : une exposition pour trois dialogues arts et paléoclimatologie

Ce projet consiste en la réalisation d’une exposition portant sur trois campagnes en mer de paléoclimatologues de l’Université Paris Saclay (laboratoires LSCE et GEOPS) et d’autres COMUE, en collaboration étroite avec des chercheurs en sciences sociales (laboratoire CEARC) et différents artistes (Lionel Jaffres du Théâtre du Grain et Xavier Guillaumin). Il s’agira de la combinaison de photographies prises dans le cadre de ces campagnes et de leur préparation, d’enregistrements sonores associés à ces campagnes, de vidéo et textes entre autres.

Exposition Sciences, Art et Société « Climate & Culture Change Communities!

Exposition transdisciplinaire internationale et interactive sur les changements climatiques et culturels auxquels font face une communauté inuit du Groenland.

Tout en présentant les résultats scientifiques du projet de recherche ARTisticc mené par une équipe interdisciplinaire de l’OVSQ, cette exposition fait entendre les voix des habitants d’Uummannaq qui ont participé à ce projet. Elle met également en valeur les œuvres réalisées par des artistes autochtones contemporains dont l’inspiration est puisée dans ces recherches entre sciences, arts et société.

SEINE

À partir du travail de la plasticienne Marie Velardi, le projet « Seine » propose un voyage spatial et temporel dans l’histoire, la géographie et la politique de la Seine.
À travers une recherche – création, une approche plastique et cartographique, des actions dans l’espace public et une édition, il donne à voir et à expérimenter les états du fleuve, tout en partageant les savoirs scientifiques et les récits des riverains.


          Les trois principaux risques qui guettent les investisseurs en 2017        

Dix ans après le début de la crise financière dite des "subprime", qui a déclenché une vague de régulation, l'élection de Donald Trump à la tête des Etats-Unis et ses projets de dérégulation, combinés au vote du Brexit au Royaume-Uni, pourraient "accroître le risque de concurrence réglementaire" et affaiblir les progrès réalisés, selon l'AMF. Cette crainte que "les marchés ne semblent pas avoir intégré dans les cours" est alimentée par les projets de dérégulation financière de l'administration Trump d'une part et le risque d'une compétition entre places financières pour "attirer les activités financières" à la suite du Brexit d'autre part. Autre point préoccupant pour la stabilité financière: le "risque d'une correction brutale sur les marchés" où les valorisations "historiquement élevées pour plusieurs indices" boursiers et la volatilité semblent être déconnectées de la macroéconomie et de la géopolitique. "On ne comprend pas bien la hausse des valorisations actions", a reconnu le chef économiste de l'AMF, Stéphane Gallon, au cours d'une conférence de présentation de la cartographie des risques publiée lundi par le gendarme boursier. Quant à l'endettement des sociétés françaises non financières qui est passé en 10 ans de 50% à 70% du produit intérieur brut (PIB) -- "une exception en Europe""--, il pourrait se traduire par des "problèmes de solvabilité" en cas de remontée des taux ou de "choc sur l'économie", prévient l'AMF qui s'interroge aussi sur l'utilité de cet endettement qui peine à se traduire en investissements. Une hausse trop rapide des taux d'intérêt longs rendrait aussi le coût de la dette "insoutenable" pour certains pays émergents, souligne l'institution. Enfin, le risque de cyber-attaques pourrait encore s'accroître du fait des tensions géo-politiques fortes dans plusieurs régions du monde.


          The KGC: An American Conspiracy (Part 3)        
They had lawyers, guns and money, as well as cartographers and engineers, tradesmen, politicians and professionals of all station, all embedded in American society and the money in the earth itself. One day these would all be needed by the Knights of the Golden Circle and if the people, their skills and their ideals would not survive the generations then their amassed fortune would. And here is where one legend intersects with another: The Lost Dutchman Mine and the Knights of the Golden Circle. Was the Lost Mine a massive KGC treasure cache? It's treasure may never be found, but those that have gone looking may have found its sentinels, and along with it, an often mysterious demise. Tonight's Quote: "...The secessionists of (El) Monte are only awaiting the withdrawal of troops from Los Angeles before they commence operations..." Edwin A. Sherman, San Bernardino County Newspaper Editor in a letter to Union Army General E. V. Sumner, Commander of the U.S. Pacific Division Show Links: We've found that some sites are not showing these links as clickable unless they are URL's, so until those outlets improve their show notes section, we are providing actual URL's next to the clickable description of each link to make things easier for our listeners! Tom Kollenborn Blog - http://bit.ly/1UMwc4Y Kollenborn on Elisha Reavis - http://bit.ly/1UMwyIR James Tufts, Inventor of the Arctic Soda Fountain - http://bit.ly/1TVwLII El Monte RV - http://bit.ly/1IeYe7K Adolph Ruth - http://bit.ly/1RYItni Jacob Waltz 1 - http://bit.ly/1T7HxeU The Lost Dutchman Mine - http://bit.ly/1KXM1UN The Peralta Stones - http://bit.ly/1T7HCiI Don Miguel Peralta (not a real person) - http://bit.ly/1T7HFej The Baron of Arizona - http://bit.ly/1QRvi6V James Addison Reavis - http://bit.ly/1UMxEnS
          Hubble's High-Definition Panoramic View of the Andromeda Galaxy        

The largest NASA Hubble Space Telescope image ever assembled, this sweeping view of a portion of the Andromeda galaxy (M31) is the sharpest large composite image ever taken of our galactic neighbor. Though the galaxy is over 2 million light-years away, the Hubble telescope is powerful enough to resolve individual stars in a 61,000-light-year-long section of the galaxy's pancake-shaped disk. It's like photographing a beach and resolving individual grains of sand. And, there are lots of stars in this sweeping view – over 100 million, with some of them in thousands of star clusters seen embedded in the disk. This ambitious photographic cartography of the Andromeda galaxy represents a new benchmark for precision studies of large spiral galaxies which dominate the universe's population of over 100 billion galaxies. Never before have astronomers been able to see individual stars over a major portion of an external spiral galaxy. Most of the stars in the universe live inside such majestic star cities, and this is the first data that reveal populations of stars in context to their home galaxy.

The panorama is the product of the Panchromatic Hubble Andromeda Treasury (PHAT) program. Images were obtained from viewing the galaxy in near-ultraviolet, visible, and near-infrared wavelengths, using the Advanced Camera for Surveys and the Wide Field Camera 3 aboard Hubble. This view shows the galaxy in its natural visible-light color, as photographed with Hubble's Advanced Camera for Surveys in red and blue filters July 2010 through October 2013.


          Ideologically aligned and ideologically divided industries        
I have been thinking lately about how the ideological distributions of individual contributors within certain industries might help illuminate the polarized state of  U.S. politics. There are two types of distributions that could implicate an industry in abetting polarization. The first distribution is what political scientists would think of as  typical of  polarization, a bimodal […]
          Minecraft players on Windows 10 and the Pocket Edition are getting the Discovery Update 1.1 “soon”        
Mojang has posted on update on Minecraft Update 1.1, also known as the Discovery Update, which is coming to Windows 10 and Minecraft Pocket Edition soon. According to the latest developer blog, there are many “mysterious and wondrous things to uncover,” and Minecraft players will be able to barter with a cartographer for a treasure […]
          Minecraft: The Exploration update is live for PC and Mac with mansions, llamas and more        
Minecraft Update 1.11, also known as the Exploration Update,is ready for download on PC and Mac. The latest update introduces the Cartographer, which is a new type of Villager. They will exchange spare emeralds for a map, which marks the spot where certain treasure caches can be found. Some maps may point players to Ocean […]
          Articles of Faith Podcast: Jeffrey Thayne – Some Thoughts on Discipleship and “Staying Mormon”        

Jeffrey Thayne grew up in Elk Ridge, Utah, collecting bugs in the woodland hills behind his home. He has wanted to be a physicist, a detective, a entomologist, a cartographer, an explorer, a linguist, an astronaut, an architect, a writer, a teacher, a video-game programmer, and all of the above. He therefore graduated from BYU […]

The post Articles of Faith Podcast: Jeffrey Thayne – Some Thoughts on Discipleship and “Staying Mormon” appeared first on FairMormon.


          The Cartographer by theaterclouds        

27.00 CAD

The Cartographer by Elly MacKay

Navigating from point to point, the cartographer determined the value of every rock.

photographic print
8x10 or 8x12 options
printed on matte paper with archival inks
protected with a sleeve and backer board
ships flat

Options - there are 8x12 and 8x10 options available.

Thank you.


          Généalogie lab #1 : cartographie et géolocalisation        

genealogie lab

 

Vous n'avez pas pu venir au premier Généalogie Lab ?

 

Retrouvez ci-dessous le live-tweet et les présentations de Jérôme et Maïwenn, et le live-tweet de l'événement.

Live-tweet #GénéalogieLab

 

{phocadownload view=file|id=8|target=s}

 

{phocadownload view=file|id=7|target=s}

 

 

 

genealogielab photo

Lire la suite...


          Un projet collaboratif sur les passeports du XIXe siècle        

Dans le cadre du "Datasprint des archives" organisé en 2016 par l'Association des archivistes français, un petit groupe de généalogistes s'est réuni sur un projet autour des passeports du XIXe siècle conservés par les Archives municipales de Beaune. Merci encore à elles de s'être prêtées au jeu !

C'était l'occasion :

dataviz passeport

  • de faire un projet de crowdsourcing (ou "production participative") de A à Z en utilisant des outils simples et gratuits, dans un temps court : numérisation, dépouillement, exploitation et valorisation ;
  • de découvrir et faire découvrir une source méconnue mais géniale ;
  • de susciter des envies d'autres projets...

Des quelques 534 documents photographies faites sur place par Sophie, Maïwenn a ensuite créé un formulaire sur mesure pour relever les informations avec l'outil Google Forms. Et par un dimanche d'hiver bien gris, Brigitte, Charles, Jérôme, Maïwenn, Sophie et Benoît, armés de leurs ordinateurs, se sont réunis dans un café pour dépouiller les photos numériques à l'aide du formulaire.

 

dataviz passeport anticafe

 

dataviz passeport carteRésultat : un relevé nominatif de 410 "passeports" (souches, feuilles de passeport ou encore pièces justificatives) couvrant les années 1836 à 1859. Les données, harmonisées et nettoyées en masse avec OpenRefine, ont ensuite été exploitées sous forme de statistiques (voir le document de présentation ci-dessous) et de cartes, avant d'être mises en ligne sur Geneanet.

 {phocadownload view=file|id=6|target=s}

 

 

Bref un projet mené de bout en bout par quelques passionnés, avec des outils simples d'utilisation qui ne demandent qu'à être plus largement répandus et utilisés par les fourmis généalogistes que nous sommes !

 

Outils utilisés

 

Liens


          Remontez le temps avec les cartes interactives de l’IGN        

Géoportail, le service de cartographie en ligne de l’IGN lancé en grande pompe il y a un peu plus de 10 ans, offre également un service permettant de comparer cartes et photos aériennes, récentes ou plus anciennes. Une ballade temporelle sans quitter votre fauteuil, entièrement depuis le navigateur web. Géoportail : les données de référence […]

Remontez le temps avec les cartes interactives de l’IGN
est un article original du blog Le Newbie.
Vous pouvez aussi me retrouver sur Google+, Twitter ou Facebook pour d'autres infos.


          Nine Things I Still Have to Say to Billy Collins        

1. Anyone can undress Emily Dickinson. Sure, she seems unavailable, distant in that east coast kind of way. Maybe even a little gay. That’s what makes her Emily Dickinson. You just have to be the kind of person who mistakes any woman in white for a bride, who treats each broad pause on the page as an open door, no need to knock. Consider her all icing. She is (we are) after all just waiting for you to provide the cake.

2. While the complexity of women’s undergarments in 19th century America is not to be waved off, simple misogyny is easily disguised as an abiding metaphorical interest in cartography.

3. Set the map’s agenda and select traits of the object to be mapped. This is the concern of map editing. Objects may be physical, such as roads or land masses, or abstract such as women writers who will never (ever) have sex with you.

4. Represent the terrain of the mapped object on flat media. This is the concern of map projections.

5. Where Emily is ocean, imagine her as tap water kept safe in your city reservoir. Find a clever glass to pour her into.

6. Eliminate characteristics of the mapped object that are not relevant to the map’s purpose. This is the concern of generalization.

7. When veering dangerously close to live animal of her body, ignore the swoon and thump of her heart’s mute muscle, enter her into the record as iceberg.

8. Reduce the complexity of the characteristics of that will be mapped. This also the concern of generalization.

9. Insist on Emily’s loneliness. Lonely is never busy, never dedicated to her art or otherwise engaged. Lonely is not an occupation and definitely not a career. Lonely is mute, curtained, meaningless. Lonely stands motionless in Amherst forever, a little wide eyed, looking out the window at the orchard below, hoping for company and that’s your job, tiger.


          Oleander Girl by Chitra Banerjee Divakaruni        
                                     
                                              Oleander Girl


Hardback:  288 pages                                                                                                
Genre: Contemporary Fiction
Publisher: Simon and Schuster 2013
Source:The author in exchange for an honest and unbiased review.
First Sentence: I'm swimming through a long, underwater cavern flecked with blue light, the cavern of love, with Rajat close behind me.
Review Quote:"Oleander Girl" is a riveting and powerful exploration of family secrets, betrayal, love, and ultimately, the search for self. Divakaruni paints colorful characters on a rich tapestry of modern India, all still haunted by the past."--Shilpi Somaya Gowda "New York Times bestselling author of Secret Daughter "
My Opinion: I am ashamed to admit that it is a whole year since I read this book, so I feel that I cannot write a proper review in case my memory gets muddled. As I read so many books it can happen that one sometimes recalls incorrectly! This is why I really need to catch up with my backlog and then stay on track to write reviews immediately I finish. An early New Year resolution, but meanwhile I do remember that it was a thoroughly enjoyable read with a beautiful love story as its central theme. Particularly interesting was the Indian setting and culture as Korobi, the female protagonist embarks on a quest to discover the truth about her roots.


Précis Courtesy of Goodreads:

From the bestselling author of One Amazing Thing, a sweeping, suspenseful, atmospheric coming-of-age novel about a young woman who leaves India for America on a search that will transform her life.

Beloved by critics and readers, Chitra Banerjee Divakaruni has been hailed by Junot Díaz as a “brilliant storyteller” and by People magazine as a “skilled cartographer of the heart”. Now, Divakaruni returns with her most gripping novel yet.

Orphaned at birth, seventeen-year-old Korobi Roy is the scion of a distinguished Kolkata family and has enjoyed a privileged, sheltered childhood with her adoring grandparents. But she is troubled by the silence that surrounds her parents’ death and clings fiercely to her only inheritance from them: the love note she found hidden in her mother's book of poetry. Korobi dreams of one day finding a love as powerful as her parents', and it seems her wish has come true when she meets the charming Rajat, the only son of a high-profile business family.

But shortly after their engagement, a heart attack kills Korobi's grandfather, revealing serious financial problems and a devastating secret about Korobi's past. Shattered by this discovery and by her grandparents' betrayal, Korobi undertakes a courageous search across post 9/11 America to find her true identity. Her dramatic, often startling journey will, ultimately, thrust her into the most difficult decision of her life.


Author Profile
                                       
                                                  Chitra Banerjee Divakaruni



Chitra Banerjee Divakaruni is an award-winning author and poet. Her themes include the Indian experience, contemporary America, women, immigration, history, myth, and the joys and challenges of living in a multicultural world. Her work is widely known, as she has been published in over 50 magazines, including the Atlantic Monthly and The New Yorker, and her writing has been included in over 50 anthologies. Her works have been translated into 29 languages, including Dutch, Hebrew, Hindi and Japanese. Divakaruni also writes for children and young adults.Her novels One Amazing Thing, Oleander Girl, Sister of My Heart and Palace of Illusions are currently in the process of being made into movies. Her newest novel is Before We Visit the Goddess (about 3 generations of women-- grandmother, mother and daughter-- who each examine the question "what does it mean to be a successful woman.") Simon & Schuster.

She was born in India and lived there until 1976, at which point she left Calcutta and went to live in the U.S.A. She continued her education in the field of English by receiving a Master’s degree from Wright State University in Dayton, Ohio, and a Ph.D. from the University of California, Berkeley.

To earn money for her education, she held many odd jobs, including babysitting, selling merchandise in an Indian boutique, slicing bread in a bakery, and washing instruments in a science lab. At Berkeley, she lived in the International House and worked in the dining hall. She briefly lived in Illinois and Ohio, but has spent much of her life in Northern California, which she often writes about. She now lives in Texas, which has found its way into her upcoming book, Before We Visit the Goddess.

Chitra currently teaches in the nationally ranked Creative Writing program at the Univ. of Houston. She serves on the Advisory board of Maitri in the San Francisco Bay Area and Daya in Houston. Both these are organisations that help South Asian or South Asian American women who find themselves in abusive or domestic violence situations. She is also closely involved with Pratham, an organisation that helps educate children (especially those living in urban slums) in India.

She has judged several prestigious awards, such as the National Book Award and the PEN Faulkner Award.

Two of her books, The Mistress of Spices and Sister of My Heart, have been made into movies by filmmakers Gurinder Chadha and Paul Berges (an English film) and Suhasini Mani Ratnam (a Tamil TV serial) respectively. Her novels One Amazing Thing and Palace of Illusions have currently been optioned for movies. Her book Arranged Marriage has been made into a play and performed in the U.S. and (upcoming, May) in Canada. River of Light, an opera about an Indian woman in a bi-cultural marriage, for which she wrote the libretto, has been performed in Texas and California.

She lives in Houston with her husband Murthy. She has two sons, Anand and Abhay (whose names she has used in her children’s novels).

Chitra loves to connect with readers via Social Media, links to sites listed below.


Photographs and Biographical Information courtesy of the following sites.

Goodreads Author Profile     Amazon Author Page    Chitra Banerjee Divakaruni - Twitter

Author's Official Website       Chitra Banerjee Divakaruni - Facebook
          Sunsquatch        
Some NASA cartographer has had enough time on their hands to plot the eclipse's totality path in relation to known Sasquatch sightings... http://m.wect.com/wect/db_330750/contentdetail.htm?contentguid=zOQnZOST
          Opening Reception: Talking to Action: Art, Pedagogy, and Activism in the Americas        

Image: BijaRi, On the rooftops of Santa Domingo-Savio neighborhood as part of the project Contando con Nosotros, 2011

Opening Reception 3-5pm /  Curator and Artist led walk-thru of the exhibition, 3pm  /  Free

Talking to Action: Art, Pedagogy, and Activism in the Americas, an exhibition and bilingual publication that investigates contemporary, community-based social art practices in the Americas. Talking to Action is part of the Getty’s initiative Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles.
 

Talking to Action features drawings, archival materials, sculpture, installation, video, and film that blur the lines between object making, political and environmental activism, community organizing, and performance art, created by contemporary artists and collectives from Argentina, Brazil, Chile, Colombia, Ecuador, Mexico, and the US. Mirroring the educational imperative found in many of the artists’ practices, and Otis College’s academic commitment to Social Practice, Talking to Action leans on the history of critical, dialogically-driven pedagogies from Latin America such as those greatly informed by Paulo Freire and other important thinkers whose collective efforts were influential to generations of artists, teachers, and activists throughout the hemisphere.

 

The social practice artists included in Talking to Action address critical issues such as migration and memory, critical spatial mapping, environmental issues, gender rights and legislation, indigenous knowledge, and racial violence. The exhibition will feature a diverse array of projects, such as the collaboration between Buenos Aires-based artist Eduardo Molinari and Los Angeles artist Sandra de la Loza as they research the archives and history of the production of space and landscape in their respective cities; SEFT-1 (Sonda de Exploración Ferroviaria Tripulada), a playfully futuristic vehicle to explore disused railroads in order to map the history of capital development in Mexico; and São Paulo-based Frente 3 de Fevereiro, who use cartography, film, and urban intervention to trace the violent lineage of “exporting” militarization and social control of Afro communities within the historic conflicts in Medellín, Colombia, to the favelas of Rio de Janeiro, and the natural disasters in Port au Prince, Haiti.

Artists in the exhibition: Liliana Angulo Cortés, Efraín Astorga Garay, BijaRi, Giacomo Castagnola, Cog•nate Collective, Colectivo FUGA, Sandra de la Loza and Eduardo Molinari, Dignicraft, Etcétera..., Frente 3 de Fevereiro, Grupo Contrafilé, Clara Ianni and Débora Maria da Silva, Iconoclasistas, Kolectivo de Restauración Territorial, Suzanne Lacy, Alfadir Luna, Taniel Morales, Andrés Padilla Domene and Iván Puig Domene, Polen Audiovisual, Gala Porras-Kim, and Ultra-red.


Talking to Action is on view September 17 through December 10, 2017

Starts: Sun, 17 Sep 2017 3:00 PM


          Talking to Action: Art, Pedagogy, and Activism in the Americas        

Image: Eduardo Molinari, Confluencia 2: Los Angeles River, 2016.

Talking to Action: Art, Pedagogy, and Activism in the Americas is an exhibition and bilingual publication that investigates contemporary, community-based social art practices in the Americas. Talking to Action is part of the Getty’s initiative Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles.
 

Talking to Action features drawings, archival materials, sculpture, installation, video, and film that blur the lines between object making, political and environmental activism, community organizing, and performance art, created by contemporary artists and collectives from Argentina, Brazil, Chile, Colombia, Ecuador, Mexico, and the US. Mirroring the educational imperative found in many of the artists’ practices, and Otis College’s academic commitment to Social Practice, Talking to Action leans on the history of critical, dialogically-driven pedagogies from Latin America such as those greatly informed by Paulo Freire and other important thinkers whose collective efforts were influential to generations of artists, teachers, and activists throughout the hemisphere.

 

The social practice artists included in Talking to Action address critical issues such as migration and memory, critical spatial mapping, environmental issues, gender rights and legislation, indigenous knowledge, and racial violence. The exhibition will feature a diverse array of projects, such as the collaboration between Buenos Aires-based artist Eduardo Molinari and Los Angeles artist Sandra de la Loza as they research the archives and history of the production of space and landscape in their respective cities; SEFT-1 (Sonda de Exploración Ferroviaria Tripulada), a playfully futuristic vehicle to explore disused railroads in order to map the history of capital development in Mexico; and São Paulo-based Frente 3 de Fevereiro, who use cartography, film, and urban intervention to trace the violent lineage of “exporting” militarization and social control of Afro communities within the historic conflicts in Medellín, Colombia, to the favelas of Rio de Janeiro, and the natural disasters in Port au Prince, Haiti.

Artists in the exhibition: Liliana Angulo Cortés, Efraín Astorga Garay, BijaRi, Giacomo Castagnola, Cog•nate Collective, Colectivo FUGA, Sandra de la Loza and Eduardo Molinari, Dignicraft, Etcétera..., Frente 3 de Fevereiro, Grupo Contrafilé, Clara Ianni and Débora Maria da Silva, Iconoclasistas, Kolectivo de Restauración Territorial, Suzanne Lacy, Alfadir Luna, Taniel Morales, Andrés Padilla Domene and Iván Puig Domene, Polen Audiovisual, Gala Porras-Kim, and Ultra-red.


Talking to Action is on view September 17 through December 10, 2017

Starts: Sun, 17 Sep 2017 3:00 PM


          OSGeo and the International Cartographic Association (ICA) sign MoU        
none
          Mercator Messenger Bag - PDF pattern by BlueJacaranda        

4.00 USD

This roomy bag can hold lots of stuff - travel guides, maps, magazines... It has handy pockets for small items such as your passport, sunglasses and train tickets.

It's named after Gerardus Mercator, the Flemish cartographer who in 1569 created the world map projection that became the standard for many years, and features on this bag - but of course you could use any fabric you like!

Finished size: 15’’ x 11’’ x 3’’

Skill Level: Intermediate

Fabric requirements:
- 1 yard main fabric
- 1 yard lining fabric
- 5/8 yard fusible fleece
- Matching thread
- 3'' x 15'' template plastic for the bag bottom

Other requirements:
- Fabric marker
- Ruler
- General sewing supplies
- Iron and ironing board
- Sewing machine with walking foot (optional)
- Turning tool or chopstick
- Binder clips

PLEASE NOTE - This listing is for the PDF pattern only, not a printed paper pattern or a finished cover. The pattern is available as a PDF file only and you should have instant access to it upon completion of your purchase.

Pattern written by Linda Robertus of Blue Jacaranda. All rights reserved. This pattern is not to be copied or reproduced or resold without written consent from the designer, Linda Robertus. Works from the patterns may be sold as long as credit for the design is given to Linda Robertus/Blue Jacaranda.

If you make a Mercator Messenger bag, I would love it if you would let me know by using the hashtag #bluejacaranda and tagging me @bluejacarandadesign when sharing on Instagram, or by sending me an email [info(at)lindarobertus(dot)com] with a photograph or a link to a blog post about your bag!


          Astuces pour contenu et mots-clés - Première partie        

La création de contenu pour votre site Web nécessite passablement de temps, d'argent et de ressources pour bien matérialiser vos efforts. Mais quand il ne génère pas assez de visiteurs ou des ventes,  c'est alors est un énorme gaspillage.

Il y a beaucoup de raisons pour lesquelles un élément de contenu pourrait ne pas fonctionner correctement, mais vous pouvez augmenter considérablement vos chances de succès par votre pré-qualification de vos idées de contenu.

Dans le monde réel, les entreprises utilisent des groupes de discussion (focus group) ou d'échantillonnage de présélection du marché ciblé. Pour les ressources humaines ils utilisent les CV et lettres de motivation de présélection des candidats avant de donner une entrevue d'embauche. Mais l'avantage de l'Internet est que vous pouvez pré-qualifier vos idées de contenu avec les bons outils et un peu de recherche.

Voilà comment utiliser un éventail de tactiques de recherche d'idées de sujet, de mots-clés à l'aide d'outils en ligne pour forer les plates-formes de contenus existants  pour trouver, informer et guider vos idées de marketing de contenu pour un meilleur succès.

Recherche de mots-clés à la portée de tous


La recherche de mots-clés est une fondation du SEO. Vous produisez vos pages pour cibler les mots-clés que les gens recherche pour fournir l'information la plus pertinente et obtenir du trafic à partir de ces recherches. De nombreux sites utilisent des mots clés pour cartographier leurs pages actuelles, mais rarement ou jamais ils l'utilisent pour créer des idées de contenu supplémentaires.

Une recherche c'est se poser une question 


La clé est bien de regarder au-delà du mot-clé et de réfléchir à la question et l'intention derrière les mots-clés utilisés, de sorte que vous pouvez créer du contenu qui répond à la question d'une manière unique, mais pertinente. Le contenu qui est construit autour de mots clés que vous connaissez pour des gens qui sont à la recherche de pré-qualification de la réponse. Vous savez que la demande est là - vous avez juste à fournir le contenu. Voici les outils que j'utilise pour trouver des idées de contenu.

Google Suggest


Cet outil est autrement connu de tous il s'agit d'aller sur Google, tapez votre requête initiale - et ne frappe pas entrer. Comme vous commencez à taper des mots clés, Google vous donnera une liste des requête les plus communes et populaires.


Note: Chaque version internationale de Google vous donnera des suggestions légèrement différentes selon le pays utilisé

Il peut être fastidieux de trier manuellement à travers toutes les suggestions, donc je vais couvrir un autre outil qui va sortir toutes les suggestion automatiquement. La meilleure façon d'utiliser Google Suggest directement dans Google est d'ajouter question termes et caractères génériques et ensuite regarder directement les résultats de la recherche pour les possibilités
Question Conditions:. Prenez votre mot clé et ajouter des questions différentes à l'informatique, tels que les formulations; qui, quoi, quand, où, pourquoi et comment. Ensuite, voyez ce qui apparaît maintenant :

Cartographic Regression of the Map of Palestine that portrayed the idea that in 1917 only Palestinians were living in Israel at that time, which is historically inaccurate since Jewish people have always been living in the land of Israel.

The chart of maps went on to demonstrate all the land the Israelis "stole" from the Palestinians.

The accompanying text reads, "The battle over Palestine has lasted for most of the 20th century and all of the 21st, causing the region's borders to change several times over the years. Here's a look at how Palestine has shrunk since 1917."

"The battle over Palestine" is a loaded statement since the Palestinians during the 1947 UN Partition plan were offered the Transjordan as a Palestinian state, a span of land three times the size of Israel.  Not until the aftermath of the Six Dat War were Palestinians even concerned about a "Palestinian state." Who are they kidding?

No explanation is offered by Starbucks/Good Politics about the 1947 and 1967 maps that the shrinking "Palestine" was due to Arab inspired and initiated attacks on the Jewish people at which time the Israelis won the land from the Arab bloc due to superior military prowess.

Starbucks is being deceptive and presenting itself as anti-Israel by featuring this misleading chart in this morning's opening portal page. Shame on Starbucks. To be fair, perhaps tomorrow's splash page should
include an historical cartograph of the terrorist attacks by individuals, Palestinians terrorist organizations and Arab nations against the civilians of Israel since 1917.
          On an Unhuman Earth        
by
Eugene Thacker
2008-07-03

It is often said that humanities departments in the States - and especially English literature departments - have turned away from theoretical reflection towards historical, sociological, and even archival research. Granted, after the heady days of literary and critical theory (of all flavors, e.g. Yale school deconstruction, Lacanian psychoanalysis, the “against theory” trend), there was a sense that, in the midst of it all, a little thing called “literature” was being forgotten. Now, everyone loves a good book (especially if it is also literature), and one would certainly bemoan its death or disappearance - which is nevertheless continually being reinvented, reproduced, and contested today via a range of new media. So the idea that a direct engagement with literature would necessitate a direct refusal of reflection on literature, or textuality, or poetics, is, to say the least, puzzling.

While panels at the MLA worry about the status of “literature” or “theory,” there are other scholars who simply focus on both. Why shouldn’t Wordsworth be read through Whitehead? Why shouldn’t the canon of Romantic poetry be read alongside the inscription technologies of cartography or tour guides? Why shouldn’t the modern reading of Romanticism - as the paradigmatic, even heroic case of the expressive interiority of the human subject - be thoroughly dismantled, in favor of a more “elemental” or even climatological understanding of self and world?

These are some of the questions implicitly raised in the work of Ron Broglio, who is rapidly becoming known for this work on animality and art. Trained as a specialist in British Romanticism, Broglio’s book - whose full title is Technologies of the Picturesque: British Art, Poetry, and Instruments 1750-1830 - details the ways in which different “inscription technologies” both enframe and produce a comprehensible object called “nature” - be it for the purposes of political economy (e.g. national ordinance maps, the British beef industry), for the purposes of entertainment and leisure (e.g. tourist guides of nature sites), or for the purposes of questioning and reconfiguring nature itself (e.g. the poetry of Wordsworth). As Broglio notes: “Focusing on particular objects of the picturesque - water, land, sky, and animals - I develop the tension between the ‘thingly’ quality of elements in nature and their status as objects inscribed by and into culture” (16).

In many ways Romanticism offers a strategic vantage point from which one can rethink the relation between nature, technics, and the human. The Romantic poets were far from simply being tree-huggers, and even farther from being invested in a robust, bullet-proof theory of the human subject - in Broglio’s reading, Romanticism works against these pillars of modernity, in effect foregrounding the question posed over a century later by Heidegger: how to allow things to reveal themselves in their thingness, without being immediately enframed by human technics? A difficult, perhaps impossible question to answer. But it would seem that in our contemporary era of global climate change, natural disasters, overdevelopment, and food rationing, the question raised by Wordsworth (and Heidegger) obtains a certain urgency.

Such an endeavor not only requires detailed close readings of literary texts, but it also requires a materialist understanding of other fields, be they maritime navigation or livestock breeding. Technologies of the Picturesque is broken up into four sections, each of which juxtaposes particular techniques for representing nature with their correlative in Romantic art and literature. The first section, “Water,” deals with the development of new techniques for calculating longitude at sea, which pitted the newer clock-based methods against the more traditional lunar and astrological methods, resulting in an “inward turn” from cosmology to the glance at the clock. This section is counterpoised by satirical works of the period, which poke fun at the burgeoning nature tourism and nature guide books. The second section, “Earth,” begins with the British National Ordinance Survey and its links to concerns of agriculture, land ownership, and new techniques of surveying. This section is counterbalanced by an impressive study of Wordsworth’s engagement with nature as both a thing-in-itself, and as an object of tourism, guided walks, and an ambivalent national landscape. The following section, “Sky,” deals with the mapping of a skyscape, the development of a language for classifying clouds, and its application is meteorology. The final section, “Animal,” turns to the figure of the cow (“bucolic beef”) as an emblem both of the natural world and of the British national beef industry. Picturesque representations of the cow as at once a part of nature and as an “improved,” engineered beast are undercut by the threat of disease and the use of cowpox in Jenner’s smallpox cure - here human and animal display something of an unnatural affinity, a hybridity manifested in the very life-blood of the living being.

Each of the chapters of Technologies of the Picturesque take the reader through the stages of the nonhuman and introduce the challenge posed by Heidegger: how to let things reveal their thingness. On one level inscription technologies allow for an abstraction to take place, a kind of subtractive production whereby an object called “nature” is articulated, most often in relation to an activity that would deploy that abstraction (e.g. land surveying for agriculture, nature guidebooks, or livestock breeding): “Inscriptions such as writings, drawings, paintings, maps, and figures change the ‘stuff’ found in nature into simple, distinct objects with characteristics that humans can comprehend. The move from things (with their opaque materiality) to objects (as intelligible and abstract sums) brings nature into culture and imbues elements of nature with halo of social meaning” (15).

Alongside this strata of inscription technologies is another strata, another technics, that Broglio often describes in terms of “surfaces,” “assemblages,” and “contact zones.” It is here that the phenomenology of Merleau-Ponty enters the picture (as it were), offering a counterpoint to the de-corporealized, optical subject of cartography and surveying: “Phenomenology provides a way of thinking about how the artist, poet, or tourist remains embedded in nature rather than imagining a static scene visually captured at a distance” (18). Romantic poets such as Wordsworth are not simply more in touch with nature; rather, they develop a sort of counter-technics whereby they highlight the role of embodiment in any technics - be it for land surveying or for poetic reflection. “I have characterized this Romantic innovation in art as a phenomenological engagement with the land by which the artist uses his bodily being and his physical movement within nature to collapse the distance and abstraction forged by technological representations. If technology, obscures the thingness of things by transforming elements of nature into cultural objects, then perhaps phenomenology can draw us near” (20).

But towards what, exactly, does this phenomenology draw us? In his juxtaposition of Romantic poetry and art with the scientific and technological developments of navigation, cartography, and breeding, Broglio shows how the former draws out the inherent tensions in the latter. In his reading of British Romantic poets (which includes a tour-de-force reading of Wordsworth’s Prelude via Whitehead and Merleau-Ponty), Broglio shows how the counter-technics of embodiment in the world (rather than the disembodied subject against the world) necessarily entails the dissolving of the subject altogether - as part of the world itself. Here is Broglio’s description of Wordsworth’s poem: “Objects take on their own agency, and human subjectivity gets defined not as a unique essence from within itself but by what assemblages and connections it maintains with the surroundings. Rather than springing from the privileged interiority of the human subject, meaning emerges from surfaces, contact zones, and associations” (24).

Far from any nostalgic understanding of Romanticism’s relationship to nature, Broglio’s reading of the tensions in Romantic poetry ultimately points to the question of the nonhuman - a very Heideggerian question, to be sure (but also a Latourian one as well). To what degree can there be a subject at all once that subject has been phenomenologically de-privileged and dissolved into the world, as part of the world? This is the radical question that Technologies of the Picturesque poses. “If thought is no longer within the self but rather distributed among a variety of objects and people, then the subject, including its interiority, is merely a part of a larger matrix. The interior functions as part of a larger exterior networks of thinking and consequently loses its privileged status and mastery of a landscape. The Romantic subject become part of a large environment - both a informational-technological environment and a physical landscape” (28).

Heidegger’s notion of the “fourfold” is transformed in Broglio’s hands into a technics of the fourfold, revealed in the book’s four sections: “Water,” “Earth,” “Sky,” and “Animals.” Broglio both frames his study in Heidegger’s somewhat nostalgic terms but also shows how, ironically, Romanticism pushes against them. Heidegger, in his lectures given the title The Fundamental Concepts of Metaphysics: World, Finitude, Solitude, makes a distinction between humans, animals, and non-living things based on their mode of being-in-the-world: whereas the rock is simply brute existence, “without world,” the animal has a limited capacity for action and reaction, and is “poor-in-world,” while the conscious, reflective human being acts upon and alters its surroundings, and is “world-forming” or “world-building.” Broglio’s reading of Romanticism as counter-technics works against the instrumental notion of the human as world-building and offers a phenomenological alternative in which the human is always embodied in and part of the world. What this leads to, then, is a tension at the heart of the Romantic counter-technics that Broglio insightfully reveals: the subject embodied and embedded is also a dissolved subject, a non-subject for which there is no privileged site of interiority, individual expressiveness, a non-subject for whom thought is not internal, possessed, and proprietary. This understanding of Romanticism - as at once critical and yet presenting new problems, new tensions - is also at the heart of contemporary debates in ecocriticism and environmentalism (be they of a Heideggerian or Buddhist strand…).

If technologies of inscription de-corporealize the subject, and if any counter-technics would have to take up the embodiedness of the subject, then this would seem to invite a critique of several fundamental categories of thought… including “thought” itself. In other words, humans are really nonhumans, and if human-intentional thought is really a form of “distributed cognition,” then one of the most pressing questions is how one can think thought outside of the human, all-too-human framework of inscription, representation, world-building, and so on. Let us be clear, however - this is not a question of whether trees “think” - which would simply reify and universalize the anthropomorphic tendency (at which point the earth is a giant brain, rather than the brain being a small earth). At its limit, Brogio’s book raises some profound questions that go far beyond the disciplinary specialization of Romanticism, and points to a possible phenomenology of exteriority. In a sense, Technologies of the Picturesque suggests that what we call “nature” is precisely this horizon for thought itself.


          Photographer Alain Willaume's 'Vulnerable,' Opens at FIAF 9/15        

The French Institute Alliance Française (FIAF), New York's premiere French cultural center, is pleased to present VULNERABLE, the first-ever U.S. solo exhibition of work by French photographer Alain Willaume, as part of the 2017 edition of the Crossing the Line Festival. Curated by François Hébel, perhaps best known as the longtime director of the prestigious Les Rencontres de la photographie festival in Arles, France, VULNERABLE will be on view at the FIAF Gallery from Friday, September 15, through Saturday, October 28.

Alain Willaume's unusual photos evoke a ghostly undercurrent in our everyday lives. Depicting lone and meditative figures in barren landscapes and dusty roads, they highlight the fractures in the places we call home. Working outside of the mainstream and of the traditions of documentary photography, Willaume creates an arresting personal cartography of engaged metaphors and enigmatic imagery. His haunting body of work evokes the lurking violence and vulnerability in the world as well as in the human beings who inhabit it.

VULNERABLE is an immersive installation, designed by François Hébel, that introduces Willaume to American audiences with photos spanning the photographer's body of work.

François Hébelsaid of Willaume, "This fine photographer is anything but flashy. He enjoys nothing better than being on the roads of all the continents. He has never wasted time on the intrigues required to earn the recognition he deserves. His photographs of real life are restrained without being prim, dark but not despairing; they change depending on his subjects and the way he handles them [...] but they have a point in common: an austerity that focuses on the essentials. His enigmatic photography resembles him and is endowed with restless energy and a kind of concerned nonchalance. [...] He asks little more of life than to be able to continue devoting himself to research."

Alain Willaume said, "Fiction is not the other side of reality but one of its processes. My work often evokes traces of the very real threats to the earth and its inhabitants. It does not oppose commitment and mystery, alarm and serenity but, on the contrary, tries to unite them in a silent form.

The French Protocol
VULNERABLE is the sixth exhibition in the French Protocol series, through which Hébel and FIAF aim to introduce contemporary French photographers with distinctive styles to American audiences. A type of conscious and controlled photography, the French Protocol, as Hébel sees it, is the antithesis of the "decisive moment," the term famously coined by Henri Cartier-Bresson. Instead, it defines technical approaches and serial aesthetics-a frame, a light-that together become the signature of the project or the entire work of the photographer. This approach was first developed by the Anglo-Saxons while the French were attached to photo reportage and humanist discourse. However, a new generation of French photographers has brilliantly adopted the technique, applying it to a variety of photographic modes.

About Alain Willaume
French photographer Alain Willaume lives and works in Paris. His work is exhibited worldwide. Willaume began hisphotography career in 1979. Since 2010, he has been a member of Tendance Floue, a French collective of experimental photographers that received the ICP Publication Infinity Award in 2007 for the book Sommes-nous?, featuring text by Jean Baudrillard. He received a First Prize Sony World Photography Award in 2011 and the Kodak Award "Prix de la Critique" in 1979. Since 2003, he has also been a guest professor in art schools, including the Haute école des arts du Rhin in Strasbourg and the École nationale supérieure d'art in Nancy, France.

About Francois Hébel
As director of Les Recontres de la photographie in Arles (1986-1987), Hébel was crucial to exposing a whole generation of photographers to the general public, including pivotal figures of the 1980s such as Martin Parr, Nan Goldin, Paul Graham, Annie Leibovitz, Sebastiao Salgado, and EuGene Richards. After leading the Magnum photo agency (Paris and International) from 1987 to 2000, Hébel returned to the prestigious festival Les Rencontres in 2001, resuming his role there as director, where he remained for 13 years. Hébel is also the founder and director, since 2013, of the Foto/Industria Biennial in Bologna, Italy; co-creator of the Photo Spring festival in Beijing, China; and Artistic Director of Le Mois de la Photo du Grand Paris in 2017. His publications include Mick Jagger: The Photobook (Contrasto +4, 2010) and Harry Gruyaert, Rivages (Textuel, 2003).

About Crossing the Line 2017
"Adventurous programming that makes you think as much about your place in the world as about art itself."-The New York Times

Crossing the Line is an international arts festival for New York City produced by the French Institute Alliance Française (FIAF) in partnership with leading cultural institutions. The festivalis co-curated by Lili Chopra, FIAF's Executive Vice President and Artistic Director; Simon Dove, Executive and Artistic Director of Dancing in the Streets; and Gideon Lester, Artistic Director for Theater and Dance at the Richard B. Fisher Center for the Performing Arts at Bard College.

France has a long history of supporting national and international cultural practices, welcoming and nurturing new ideas and influential perspectives from around the world. FIAF, as the leading French cultural institution in the US, critically maintains that practice through the Crossing the Line Festival, presenting leading-edge artists from France and the US alongside their peers from around the world.

Since its inauguration in 2007, Crossing the Line has cultivated an increasingly large and diverse following, and received numerous accolades in the press including "Best of" in The New York Times, Wall Street Journal, The New Yorker, Time Out New York, Artforum, and Frieze. Festival performances have earned multiple Obie and Bessie awards. crossingtheline.org

About FIAF
The French Institute Alliance Française (FIAF) is New York's premiere French cultural and language center. FIAF's mission is to create and offer New Yorkers innovative and unique programs in education and the arts that explore the evolving diversity and richness of French cultures. FIAF seeks to generate new ideas and promote cross cultural dialogue through partnerships and new platforms of expression. www.fiaf.org

Merci!
Supported by King's Fountain.

Crossing the Line 2017 is made possible with generous leadership support from Air France and Delta Air Lines, the official airlines of FIAF; The Edmond de Rothschild Foundations; The Florence Gould Foundation; The Hermès Foundation (Fondation d'entreprise Hermès) within the framework of the New Settings program; and JCDecaux; and with generous major support from Cultural Services of the French Embassy; Enoch Foundation; FACE; Howard Gilman Foundation; National Endowment for the Arts; New England Foundation for the Arts; NYC Department of Cultural Affairs; NYSCA; New York State Council on the Arts; Pommery; Perrier; and Performing Arts Fund NL.

Our Producer's Circle: Sarah Arison, Michel G. Bernard, Ron Guttman, Isabelle Kowal, Didier Lestienne & Pierre Rouy-Cartier, Marie Nugent-Head, and Elisabeth Wilmers.

FIAF would like to thank the following for their generous support of Crossing the Line 2017:

British Council; Consulate General of the Netherlands in New York ; Institut Français; King's Fountain; Omaha Foundation; Robert de Rothschild; and SACD (Société des auteurs et compositeurs dramatiques).


          New text about the Nervous Systems exhibition in Berlin        
„Nervous Systems – Algorithms and our everyday life“ What does the comic book heroine Wonder Woman have to do with the lie detector? How is the Situationists’ dérive connected to Google Map’s realtime recordings of our patterns of movement? Do we live in Borges’ story “On Exactitude in Science” where the art of cartography became … New text about the Nervous Systems exhibition in Berlin weiterlesen
          Ling-Lunch 4/20 - Ian Roberts        
Speaker: Ian Roberts (University of Cambridge/UConn) Title: Verb Movement and Cartography in English and Romance Date/Time: Thursday, April 20th, 12:30-1:50pm Location: 32-D461 Abstract: I begin by presenting the recent important proposals in Schifano (2014, 2015a,b) showing that across Romance there are at least four distinct landing sites in the TMA zone of the clause for […]
          The Adorable Maps Today’s Cartographers Made as Kids        
none
          The Best New Maps, According to Cartographers        
none
          Crash d'un hélicoptère: risque de perturbations de l'alimentation électrique à Douéra.        
Des perturbations de l'alimentation électriques   risquent d'être enregistrées au niveau de certaines localités de Douéra,   suite au crash d'un hélicoptère de Tassili Travail Aérien (filiale de   Tassili Airlines) survenu jeudi à proximité d'une ligne très haute tension   (220 kv) de Boufarik-Ouled Fayet, a indiqué la Société de distribution de   l'électricité et du gaz d'Alger (SDA) dans un communiqué.      A cet effet, la SDA assure que ses équipes sont mobilisées en cas de   perturbation de l'alimentation électrique.  Pour rappel, un hélicoptère de Tassili Travail Aérien a crashé jeudi matin   avec 4 personnes à bord qui sont toutes décédées.   Les quatre personnes décédées sont le commandant de bord, deux (2)   preneurs de vue aérienne et un (1) chargé d'études de cartographie.  Le crash de l'hélicoptère de type Bell 206 a eu lieu jeudi à 10h45 au lieu   dit Dkakna à Douera (Alger).  Cet appareil a été affrété auprès de Tassili Travail Aérien par l'Agence   nationale d'études et de suivi de la réalisation des investissements   ferroviaires (Anesrif).
          Crash d'un hélicoptère de Tassili Travail Aérien (filiale de Tassili Airlines): 4 morts        
Un hélicoptère de Tassili Travail Aérien   (filiale de Tassili Airlines) s'est crashé jeudi matin avec 4 personnes à bord   qui sont toutes décédées, a indiqué à l'APS le chargé de la communication   de Tassili Airlines, M. Karim Bahard. Les quatre personnes décédées sont le commandant de bord, deux (2)   preneurs de vue aérienne et un (1) chargé d'études de cartographie, selon   la même source.  Le crash de l'hélicoptère de type Bell 206 a eu lieu jeudi à 10h45 au lieu   dit Dkakna à Douera (Alger).  Selon M. Bahard, le commandant de bord de cet hélicoptère, Hani Saadi,   avait à son actif plus de 4.000 heures de vol.   Cet hélicoptère a été affrété auprès de Tassili Travail Aérien par   l'Agence nationale d'études et de suivi de la réalisation des   investissements ferroviaires (Anesrif).
          Obviously they fired their cartographer        

Obviously they fired their cartographer

Read more...


          Ð Ð°Ð·Ð½Ð¸ 119        
Надявам се да си намериш нещо интересно тук (макар да се предполага в момента да си някъде с много море и никакъв интернет).

Марка сравнява футболните първенства в Европа и търси най-конкурентното. Това трябва да ти напомня за моя проект от миналата година. Окей, тяхното е по-изчерпателно, но аз бях пръв все пак.

Ако като цяло си падаш по инфографики и карти, това са ти щастливите Разни - задължително се зарови и в тези: най-после можеш да сравниш реалните размери на държавите по света, които досега познаваш силно изкривени от проекцията на Меркатор; някой си е поиграл и проследил промените в цветовете и видовете Лего тухлички през годините, епохален труд; изключителна интерактивна карта с културните ценности на София.

А като се замислиш, че архитектурата даже си няма етикетче в блога... Напомнете ми да се сдобия с тези страхотни стенни панели и тези невероятни ръчно декорирани плочки следващия път, когато обзавеждам нещо. Темата за модернизма откривам с подробно ревю на интериорите (или пък декорите?) в екранизацията на Стенли Кубрик на Портокал с часовников механизъм и тъжното, гентрификационно бъдеще на квартала, където е заснет филма; по-позитивно за брутализма с няколко примера, защо е окей да харесваш бетона, неочаквания цвят в архитектурната фотография на Остейн Аспелунд и неочакваната красота на вафлените тавани, 4 от 6-те най-впечатляващи сгради в Рио, исторически снимки от строежа на телевизионната кула в Берлин, разходка из ателието на Тадао Андо, една конструкция, която би могла да съществува само в Холандия - стена, спираща ветровете, нещо ново в Швейцария и японския остров на изкуствата Наошима; имаме, ти да видиш, и църкви - внушителната по всякакъв възможен начин Халгримскиркя в Рейкявик и радикалните визии от социалистическа(!) Полша; бъг в идеалния индийски град на Корбюзие, неосъществения му план за Париж и неслучилия се Оскар Нимайер в Ливан. Съответно е ред да отделя и (не)малко внимание на неудачите - враждебните елементи в градската среда, как градските магистрали повредиха американските градове и заличиха трамваите, странните фасади на вече фалирала верига хипермаркети, изчезващите обществени пространства в бившите соц страни и още много провали в архитектурата; в Лондон ще трябва да възстановят съборен пъб тухла по тухла; две галерии - от забравените пространства под мостове и естакади и гетото в центъра на метрополиса Шанхай; и изобщо градове на неравенството. Има и успехи, разбира се - паркингът, избран за сграда на годината в Холандия (има защо) и още гениалности в наградите на Арxмаратон.

Във второто архитектурно блокче задълбаваме в историята със снимки от изграждането на символите на Ню Йорк, Рим от края на 19. век в цвят, Плевен от края на 20. век и православните църкви по света (окей, източно-европейската част на света). Ако си бог на картите, Гардиън има градски куиз за теб, ако не - можещ просто да се полюбуваш на илюстрираните карти от Аби Дейкър. Крис Форсайт изследва визиите на метрата, засега в 3 града, а тук има още цели 13 европейски, в това число и двете линии в София; ако все пак си по-уверен в познанията си за доброто старо Лондонско метро, виж дали можеш да познаеш станциите по плочките им. Тези са хептен разни - циганска архитектура от Молдова, френският банкси на фалшивите фасади, объркващите градове, плод на компютърен алгоритъм, защо всеки ресторант напоследък прилича на фабрика, токиозирай това, а ако имаш наистина много време, силно ти препоръчвам да го прекараш в този архив с документални филми за 50 от архитектурните шедьоври на Земята.

Все неща, които си се чудил, но не си посмял да (п)опиташ - защо класическите статуи имат такива малки пишчици, как звучи истински оргазъм и как начина на хранене променя вкуса там долу.

Рекламна пауза: оргазъм по Туитър, къде изчезна порното, пари за милиардери!

През 1847 г. Ирландия е поразена от Големия глад, предизвикан от болест по картофите и в не по-малка степен традиционно тъпата политика на Великобритания (в крайна сметка, заради смърт и емиграция населението на острова за 3-4 години се смалява с 1/4). Помощ идва от най-неочакваното място - османският султан Абдул Меджид I предлага 10 хиляди паунда (еквивалент на 1 милион днешни пари), но ги намалява до 1000, след като разбира, че самата кралица Виктория е жертвала едва 2000. Но изпраща и 5 кораба, тъпкани с храна от другия край на Европа... такива ми ти работи. Още много исторически истории (в никакъв ред, оправяй се): хронологическа картография на Парижката комуна с барикадите и преди Осман и изкуството на анархистичните бунтове в града от 60-те; носел ли е Нерон слънчеви очила и ял ли е Гаврило Принцип сандвич онази фатална сутрин в Сараево; всякакви неща за Персийската империя и армията й; същото, ама за Османската (без слънчевите очила на нашенската омраза); как историк гледа исторически сериал; истинските банди на Ню Йорк; войната без мир и Хано Мореплавателя (или за Картаген преди римляните); Софийското метро през 1968 година; А.Л.Ж.И.Р. - Акмолински лагер за жените на изменниците на родината и разказ на родителите на Мая Плисецкая; тийнейджърският живот в Древен Рим и САЩ през 1990 година; визии от времето, когато човечеството покоряваше космоса (демек като линка за Софийското метро по-горе); полската кама сутра и цензурата; плювалници - да, плювалници; римски номер ли е Иисус; 6 войни на американците, за които не знаеше; издънката на Крас в Персия; археологията явно има още какво да открива в Камбоджа и Петра; ако Африка не беше колонизирана; имат ли алтернатива националните държави; християнството и секса; можеш ли да познаеш съветския уред (аз съм 6 от 10 и това е добро постижение); обратно в античността.

Да не кажеш, че не споделям нищо научно - какво е най-вероятно да те убие според възрастта ти и разни други признаци, каква е причината за подутите червени носове на възрастните господа (не, не е алкохолът), защо морският бряг мирише така, историята на чисто новото супер синьо, целият ни свят в един сайт със статистика, звездобройство астрономия от зората на времената и какво ще стане с теб, ако над главата ти избухне атомна бомба. Ето, сега си научен.

Няма да повярваш колко често големите компании за облекло крадат от независими дизайнери - помогни плагиатите да бъдат разобличени.

Всички стават по-хубавижълти, когато ги симпсонизираш, ето - виж! Още рисувани хубавини: Клаудия Соуза, Тони Футура, светът на Шойтен и Петерс, Здраволина (наша, родна), всички участници в Евровизия, Ейко Ояла, Лорета Мей, Хавиер Майорал, Симон Лондоньо, най-голмият архив със съветски плакати и още с китайски фойерверки, светът на стадионите от Лехел Ковач, Мауро Гати, Клои Бристъл, Паулина Вах, Лаура Брайлинг и портрети с понички. Всичко с мотив или как да се отличиш на пренаселен пазар, съвременни брандове СССР-стайл и о, носталгийо, VHS касетки.

Ще изтърпиш и малко типография: освен дом на най-изненадващите шампиони в историята на Премиършип, Лестър е и родно място на дизайнера Майлс Нюлин и гласа Сър Дейвид Атънбъро - е, първият създава шрифт, посветен на втория; шрифтът на Лондонското метро получава лек ъпгрейд, за да е все така перфектен; азбука на изобретенията.

"Имената на този сайт са събирани от телефонни указатели, некролози, афиши, пощенски кутии, познати и други"... Амиии, добре.

Че големият футбол е повече бизнес отколкото спорт, би трябвало да ти ясно отдавна, че има толкова много собствени марки на футболисти (и спортисти), може би ще се изненадаш. Дори процесът по представяне на екипировката за новия сезон се е превърнал в сложна мар
          Rare Maps Training -Manchester        

CILIP Rare Books and Special Collections Group (RBSCG) are pleased to be offering training on cataloguing rare maps using DCRM(C).

Through lectures and visual aids workshop participants will be introduced to Descriptive Cataloguing of Rare Materials (Cartographics), or DCRM(C). The workshop will focus on the descriptive portions of the bibliographic record, following the scope of DCRM(C), with special emphasis on the differences between Descriptive Cataloguing of Rare Materials (Books) and DCRM(C).

The workshop is suitable for those with working cataloguing experience who wish to be introduced to rare cartographic materials cataloguing according to DCRM(C). Participants should have working experience in MARC AACR2 cataloguing using Descriptive Cataloguing of Rare Materials (Books) and/or Cartographic Materials: A Manual of Interpretation for AACR2.

The workshop will be given by: Todd Fell, Head of Rare Book Cataloguing, Beinecke Rare Book and Manuscript Library, Yale University.

Tea and coffee are provided but attendees will need to make their own arrangements for lunch.

This training is offered at a cost of £50 for members of the CILIP RBSCG and £80 for non-members. To book your place, please contact Tanya Kirk on tanya.kirk@bl.uk, quoting your CILIP membership number (if applicable) and indicating which day you would like to attend.

We are offering two free train-the-trainer places for this course for cataloguers who are interested in becoming RBSCG DCRM(C) cataloguing trainers and who commit themselves to giving the same workshop in the future. If you are interested in the offer, please contact Iris O’Brien (iris.o’brien@bl.uk) with a short statement about why you would like to become a trainer.

Tue, 6th Sep 2016 - 10:00am to 4:30pm
Tanya Kirk

The John Rylands Library

150 Deansgate
M3 3E Manchester

United Kingdom

Cost

  • £50 for members of the CILIP RBSCG and £80 for non-members.
Free Event: 

          Rare Maps Training - London        

CILIP Rare Books and Special Collections Group (RBSCG) are pleased to be offering training on cataloguing rare maps using DCRM(C).

Through lectures and visual aids workshop participants will be introduced to Descriptive Cataloguing of Rare Materials (Cartographics), or DCRM(C). The workshop will focus on the descriptive portions of the bibliographic record, following the scope of DCRM(C), with special emphasis on the differences between Descriptive Cataloguing of Rare Materials (Books) and DCRM(C).

The workshop is suitable for those with working cataloguing experience who wish to be introduced to rare cartographic materials cataloguing according to DCRM(C). Participants should have working experience in MARC AACR2 cataloguing using Descriptive Cataloguing of Rare Materials (Books) and/or Cartographic Materials: A Manual of Interpretation for AACR2.

The workshop will be given by: Todd Fell, Head of Rare Book Cataloguing, Beinecke Rare Book and Manuscript Library, Yale University.

Tea and coffee are provided but attendees will need to make their own arrangements for lunch.

This training is offered at a cost of £50 for members of the CILIP RBSCG and £80 for non-members. To book your place, please contact Tanya Kirk on tanya.kirk@bl.uk, quoting your CILIP membership number (if applicable) and indicating which day you would like to attend.

We are offering two free train-the-trainer places for this course for cataloguers who are interested in becoming RBSCG DCRM(C) cataloguing trainers and who commit themselves to giving the same workshop in the future. If you are interested in the offer, please contact Iris O’Brien (iris.o’brien@bl.uk) with a short statement about why you would like to become a trainer.

Mon, 5th Sep 2016 - 10:00am to 4:30pm
Tanya Kirk

British Library

96 Euston Road
NW1 2DB London

United Kingdom

Cost

  • £50 for members of the CILIP RBSCG and £80 for non-members
Free Event: 

          Where Are We Now?: Orienteering in the Electronic Literature Collection, Volume 2        
by
John Zuern
2011-11-09

Although we can now make what we write instantly available more or less everywhere in the world, every act of writing takes place somewhere, in a particular location, at a particular time, in a particular dialect of a particular language, and within the corresponding geopolitical, historical, cultural, and linguistic parameters. Moreover, every act of writing is somatically situated, exerting a strain, often imperceptible but sometimes debilitating, on a particular writer’s body. Acknowledging this inevitable emplacement and embodiment of writing - and consequently of reading - has by now become a commonplace, if not a piety, in much of the artistic and critical discourse on electronic literature, yet as I made my way through the 63 works comprising the second incarnation of the Electronic Literature Collection, the truism powerfully reasserted itself as a recurring, richly varied, and still-urgent theme.

The very first piece in the lineup, Annie Abrahams’ Flash poem “Separation/Séparation,” strikingly emphasizes both the bodily and geographic dimensions of literary creation and reception. Inspired by the author’s experience of repetitive-strain injury, the poem is designed to reinforce ergonomic guidelines aimed at preventing such injuries. Clicking too quickly or forcefully invokes the error message, “You don’t have the right attitude in front of your computer,” and the poem periodically pauses to lead the reader through stress-reduction exercises. While the central focus of Abrahams’ piece is the computer user’s fraught relationship with the machine, by providing English and French versions of the work, Abrahams, a Dutch artist working in France, also underscores the powerful but often under-recognized role of a language - “native,” “national,” “other,” “foreign” - in situating us in relation to whatever we read, even when that situation amounts to a separation due to our inability to comprehend. As do many of the texts in Volume 2, “Separation/Séparation” encodes the coordinates of its creation in the form of the different human languages it engages.Embracing the otherness of two languages, Abrahams, whose native language is Dutch, wrote both “Separation” and “Séparation,” as she explained in an email message to me on 21 July 2011.

Some of these entries are grounded in the political economies as well as the languages of specific locales. Combining English and Spanish, Mark Marino’s innovative hypertext “a show of hands,” which offers alternative paths through its narrative in response to the reader’s prior choices, reveals the precarious lives of Mexican immigrants living in Los Angeles, while Sharon Daniels’ Flash documentary “Public Secrets” gives the inmates of the Central California Women’s Facility a place to tell their stories (and Erik Loyer’s bold, clean design gives those stories ample room to move around in). Other works in the collection incorporate satellite imagery, geo-positioning, and other forms of mapping in inventive ways. Christoph Benda’s “Senghor on the Rocks,” a multi-volume novel in German depicting a European videographer’s sojourn in Senegal, plots the movements of its first-person narrator on a Google Earth map of Dakar; J. R. Carpenter’s “in absentia” employs the same mapping technology to document and decry, in English and French, the gentrification of the Montréal neighborhood of Mile End; and in Kate Pullinger and Chris Joseph’s “Inanimate Alice (Episode 4),” a NASA Visible Earth photograph representing the young heroine’s post-industrial English town serves as an interface to different dimensions of Alice’s less-than-wonderful adventure. Part fiction, part historical reconstruction of an 1869 expedition into the American West, Roderick Coover’s “A Journey into the Unknown” unfurls across the screen as an oneiric map of the territory, inlaid with photographs and nodes of narrative. Literary cartography turns skyward in David Clark’s “88 Constellations for Wittgenstein,” a brilliant meditation on the personal and intellectual itineraries of the Viennese philosopher and his associates, as well as in Stephanie Strickland’s “V:Vniverse” (created with Cynthia Lawson Jaramillo), a literally and philosophically animated hypertext poem about gender, embodiment, temporality, and reading.Chris Funkhouser examines the connections between Strickland’s “V:Vniverse” and her print collection V: WaveSon.nets/Losing L’Una in an essay in the Electronic Book Review at http://www.electronicbookreview.com/thread/electropoetics/superdense. In both of these works, numbered star charts and diagrams of the constellations serve as the principal graphical interface, aligning the cognitive improvisation of star-gazing and celestial navigation with the touch-and-go process of finding meaning in a text. Exhibiting such an impressive capaciousness in terms of styles, media formats, countries of origin, and languages, Volume 2 of the Electronic Literature Collection is itself a kind of map: with their carefully plotted flyover of the landscape of contemporary computer-based writing, co-editors Laura Borràs, Talan Memmott, Rita Raley, and Brian Stefans have provided us an opportunity to get our bearings, to take up positions, and to chart courses within this diverse, fertile, and ever-expanding field.

It certainly isn’t the case that the first volume of the Electronic Literature Collection ignored issues of locality and linguistic diversity. Under the keyword “Place,” Volume 1 actually lists considerably more entries (11) than does Volume 2 (3), in part because the latter seems to scope its application of the term more strictly, and under “Non-English/Multilingual,” the second volume boasts only four more works (11) than the first (7), which includes groundbreaking texts in French by Philippe Bootz, Marcel Frémiot, and Patrick-Henri Burgaud as well as texts by John Cayley, Sharif Ezzat, Loss Pequeño Glazier, all of which incorporate languages other than English. Whereas the first volume had a necessarily retrospective emphasis, however, tasked as it was with defining a field and showing where electronic literature has come from, Volume 2 seems more intent on showing us where electronic literature is now - and perhaps even hinting at where it, along with its institutional and critical support systems, ought to be going. Internationalization is clearly on the editorial agenda; the collection reinforces the drive to represent electronic literature as a world-wide phenomenon reflected in the recent scholarly anthologies Regards Croisés: Perspectives on Digital Literature (2010), edited by Philippe Bootz and Sandy Baldwin, and Reading Moving Letters: Digital Literature in Research and Teaching (2010), edited by Roberto Simanowski, Peter Gendolla, and Jörgen Schäfer. As indicated in the Electronic Literature Organization’s announcement of Volume 2’s launch, the expertise of co-editor Borràs, director of the international research initiative Hermeneia and co-editor of the anthology Textualidades Electrónicas: Neuvos Escenarios para la Literatura (2005), facilitated the inclusion of texts in Catalan, Portuguese, and Spanish such as Ton Ferret’s “The Fugue Book,” a subversive send-up of Facebook in Catalan; “La Casa Sota el Temps” and “Universo Molécula,” two works by another Catalan writer, Isaías Herrero; the swarming bot-poems of “Palavrador,” a collaborative virtual reality project under the direction of Chico Marinho; Jaime Allejandro Rodríguez’s multimedia mystery “Golpe de Gracia”; Rui Torres’ “Amor de Clarice,” which incorporates a short story by Brazilian writer Clarice Lispector and Torres’ poetry generator “Poemas no Meio do Camino.” Volume 2 also serves up English translations of Suzanne Berkenheger’s “The Bubble Bath” (originally in German) and K. Michel and Dirk Vis’ “Ah” (originally in Dutch), as well as a number of pieces presented in what amounts to “facing-window” translations. Along with Abrahams’ piece, these include Serge Bourchardon, Kevin Carpentier, and Stéphanie Spelné’s Toucher (in French and English), David Jhave Johnston’s “Sooth” (in French and English), and Rozalie Hirs’ poem “Family Tree,” animated by Harm van den Dorpel (in Dutch and English). This wide selection of translated work is a welcome sight, not only because translation makes these noteworthy texts accessible to more readers, but also because it draws our attention to practical and philosophical questions about the materiality of electronic literature - a point to which I will return later.

Volume 2 has many other virtues in addition to its international outlook. It is good to see important texts by three of the co-editors of the first volume - Stephanie Strickland, Nick Monfort, and Scott Rettberg. In addition to “V:Vniverse,” Strickland’s work is represented by the captivating poem-program-video fusion “slippingglimpse” (created in collaboration with Cynthia Lawson Jaramillo and Paul Ryan). Nick Monfort’s formidable skills in both human and programming languages - as well as across literary genres - are in evidence in his interactive fiction “Book and Volume,” in which the reader plays the role of a networking specialist charged with rebooting a number of servers scattered throughout a dense urban space, and his stylistically and computationally minimalist Perl poetry generator “ppg256.” Rettberg makes his appearance as a co-author, along with William Gillespie, Dirk Stratton, and Frank Marquardt, of the rollicking hypertext novel “The Unknown.” The collection also adds Michael Mateas and Andrew Stern’s highly influential interactive drama Façade, as well as “Chroma,” a fascinating adventure game/story by Erik Loyer, who for years has made significant contributions to electronic literature as both an author and a designer. The judicious return to authors who also appear in the first volume (for example, Wardrip-Fruin, J. R. Carpenter, Judd Morrissey, Stuart Moulthrop, and William Poundstone) acknowledges the continuing importance of these writers and invites reflection on the development of their artistic practice. Additionally, keyword categories proposed but left empty in Volume 1 - “CAVE,” “Database,” “Hacktivist,” “Installation,” and “Locative” - each now contain at least one entry, a testament both to the prescience of the Volume 1’s editorial team and to the efforts of Volume 2’s co-editors to document important work that can’t be accessed adequately via the Web. Examples of these projects include Marinho’s “Palavrador”; Caitlin Fisher’s “Andromeda,” in which the paper-based 3D of the child’s pop-up book meets cutting-edge virtual reality; Justin Katko’s “Up Against the Screen Mother Fuckers,” developed for the CAVE at Brown University; and - a welcome sight indeed - the celebrated CAVE piece “Screen,” produced by Noah Wardrip-Fruin in collaboration with Josh Carroll, Robert Coover, Shawn Greenlee, Andrew McClain, and Benjamin “Sasha” Shine. All of these achievements are laudable, but to my mind Volume 2’s most valuable contribution remains its commitment to diversifying, in terms of provenance and language, the set of texts that make up the growing community (if not the canon) of electronic literature.

Why are linguistic diversity and the ensuing task of translation so crucial to a vibrant, “sustainable” literary culture, regardless of medium? The following reflections on the second volume of the Electronic Literature Collection will take the form of a meditation on that question, a question that seems especially crucial to me in light of an observation Roberto Simanowksi makes in one of his chapters in Reading Moving Letters. From the vantage point of his longstanding engagement with electronic literary arts, Simanowski notes that “works of digital literature very often use English as the lingua franca in accordance with the increasing importance of globally accessible cultural expressions and to the decreasing role of language in digital literature” (237). Simanowski’s comment points to two literary-historical developments that warrant some serious scrutiny. Each of them is associated with a different sense of the word “language”: presumably, as a particular language - English - gains dominance in electronic literature, language as such is beginning to recede as the paramount means of expression in computer-based creative writing. Simanowski even seems to imply a correlation of these two processes, whereby a monolingualization marks the advent of a delingualization. While for some readers “the decreasing role of language in digital literature” may be something to celebrate, for others (myself included) the suggestion raises both questions and hackles. Faced with these developments, don’t we have to ask ourselves what a literature without language would actually be? At the same time, don’t we also have to ask ourselves how we might mount an appropriate, medium- and discipline-specific critical response to the situation Simanowski describes, a response that asserts the centrality of language, both as such and in particular, to properly literary cultural production without resorting to the reactionary appeals to “the humanistic expressivity of literature” N. Katherine Hayles has rightly cautioned against (85)?

An inspiring answer to this second question comes from Joseph Tabbi, who in a review of four books on cyberculture, including Hayles’ My Mother Was a Computer: Digital Subjects and Literary Texts, concludes that “the realm of informatics, even if embodied in objects, routes, channels, and the bodily cage, however complex or ubiquitous, is still of a different order of complexity from the meanings and lifeways that find expression […] in literature and the arts” (“Locating the Literary” 330). Tabbi identifies two prominent orientations within critical discussions of digital literature, one emphasizing a decisive rupture between digital and print forms of literary production, the other viewing electronic texts as perpetuations of various literary-historical trends, both formal and ideological, that originate in print culture. He then challenges us to imagine a third route for critical practice, an orientation:

that neither insists on literary autonomy nor subordinates literary history to a dutiful registration of advances in technological complexity and their sociopolitical consequences. That third, distinctively literary tendency would be less a critique of the world or a celebration of technology than an extension of technological exploration using textual and narrative means. (“Locating the Literary” 326)

Tabbi seems to be calling for a critical practice that teases out the intricate, heterogeneous connections among the many varieties of linguistic and computational expression to be found in electronic texts without privileging mode one over the other. While these connections are often text-intrinsic, they inevitably also link individual works with each other and plug them into the cultural, socio-economic, and technological power grids comprising the world in which we all write and read. The second volume of the Electronic Literature Collection opens up any number of avenues along which we might advance the “expansive and worldly cultural approach” Tabbi advocates (“Locating the Literary” 326). One of them leads into the thicket of languages and the tripwires of translation.

Language as Such and the Languages of Electronic Literature

Eugenio Tisselli’s “synonymovie” invites readers to submit a single “seed” word that prompts the work’s Web search engine to generate a slideshow-like sequence of verbal synonyms paired with sometimes obliquely associated images gathered from the Internet.In his essay “Narrative Motors,” Tisselli offers a brief discussion of his objectives in “synonymovie,” including his notion of a generative seed-word (8). An advisory appears beside the text-entry field on the opening screen: “English please” a request attesting to the function of English as a master constraint on many types of programmed, networked creative writing. Aiming to maximize the potential of his engine to find synonyms and appropriately corresponding images for whatever words users enter, Tisselli - who commands at least four languages - restricts the pool of acceptable words to the presumably global lingua franca. Although a non-English word will occasionally return a relevant image (“enseignement,” for example, resulted in a picture of a classroom), these foreign films stall at the first frame. Tisselli’s restriction of users’ input doesn’t amount to an artistic deficit, but it does point to the continuing sway of what Rita Raley, surveying the state of language on the Internet in 2003, calls “a networked ‘Global English,’” which in order “to reduce the chance of misfire, to eliminate noise […]; must necessarily be universally readable, particularly by machines” (305). In the domain of electronic literature, the responsibility for resisting the imperialism of English doesn’t ultimately lie with individual authors (though they can certainly contribute to the cause) as much as with the discursive and institutional initiatives that are shaping the field. The Electronic Literature Collection is one of these initiatives, and the configuration of Volume 2 indicates that almost a decade after Raley’s assessment, although Global English aggressively continues to assert itself, “we are nevertheless still in a moment in which linguistic subcultures can and do operate against the grain” (Raley 300). Especially significant in this regard is the collection’s presentation of works in Catalan alongside selections in Spanish, as well as its attention to works that engage language politics in Canada, for example Carpenter’s “in absentia” and Johnston’s “Sooth.”

Though I could only superficially parse the Spanish, I spent a long time feeling my way through Doménico Chiappe and Andreas Meier’s novel “Tierra de Extracción,” a multimedia hypertext composed in Director that weaves together five narrative lines, all intersecting with the history of the impact of a century of oil development on the Venezuelan town of Mene Grande. Chiappe discusses the production of this work, which went through a major revision for its 2007 publication, in an interview with Jonathan Blitzer at wordswithoutborders.org “Tierra de Extracción” demonstrates how a broad international scope can accomplish more than just a representative assortment, deepening the resonances among works within an anthology and inspiring comparative, cross-media explorations. In this case, thematic pipelines link “Tierra de Extracción” with “Inanimate Alice,” in which the heroine’s father works for an oil company, and with “Flight Paths,” also by Kate Pullinger and Chris Jacob, in which a migrant worker’s journey from Pakistan to London passes through the petroleum-fueled economy of Dubai. A critic might include all three in a study of literature that grapples with the social ramifications of the oil industry, a project that could look all the way back to Upton Sinclair’s 1927 novel Oil!

Scratching the surface of “Tierra de Extracción” made me wish for translations of this and all the other texts in the collection in languages I don’t know. My personal desire to access these works is coupled with a sense that everyone involved in electronic literature would benefit from a more thoroughgoing practical and theoretical engagement with problems of inter-linguistic translation as they apply to digital textuality. As Jessica Pressman notes in her fine analysis of Young-hae Chang Heavy Industries’ dual-language “Nippon,” attention to translation supports a critical orientation “that is neither focused on the onscreen text nor the computational code but which illuminates the symbiosis enabling both.” Examining translations of individual digital works reveals the widely varying degree to which changes to their verbal texts entail adjustments to the computational processes that display, manipulate, and/or generate them, thus revealing meaningful variations, from work to work, of the co-dependent relationships between both signifying systems. A quick comparison of the translations of Berkenheger’s hacktivist hypertext “The Bubble Bath” and Michel and Vis’ animated poem “Ah,” both of which appear in Volume 2 only in their English versions, exemplifies some these differences.

Berkenheger’s piece, which originally appeared in 2002 as “Die Schwimmmeisterin,” is designed to be readable only in Internet Explorer on the PC platform. It deploys deliberately glitch-ridden scripts to expose and lampoon IE’s tolerance of shoddy (and potentially hazardous) code. Berkenheger allegorizes the user’s relationship with Microsoft’s maddening browser by way of an erotic melodrama, distributed across unruly pop-up windows, featuring a less-than-responsible supervisor [die Schwimmmeisterin] at a public swimming and spa facility, her male intern [der Praktikant], and a demonic piece of malware. Security upgrades to IE in the years following the initial publication of Die Schwimmmeisterin prompted Berkenheger to revise the piece several times, and by the text’s own admission, it now amounts to “a modern ruin - even after several redevelopments.” The piece that appears in Volume 2 represents a significantly pared down version of the much longer 2002 original, and some of the scripts have been simplified. Berkenheger explained the background of the translation and revision of her text in an email to me on 3 August 2011. Colleen Schmitz and Klaus Ungerer prepared the English translation of “The Bubble Bath.” A version of “Die Schwimmmeisterin” in German can be found at http://www.berkenheger.netzliteratur.net/ouargla/websprudel/browser.htm

While hardly ruinous, the transfer of the German text of “Die Schwimmmeisterin” across linguistic platforms to “The Bubble Bath” brings some curious incompatibilities to light. An earlier translation of the title as “The Swimming Attendant” keeps the focus on the lead character, but it loses not only the original’s gender specificity but also its authoritarian echo of Meister [master], along with its even more important reference to the vocational-education apparatus in which Berkenheger’s characters are embedded. However questionable her work ethic, in the German cultural context Berkenheger’s swimming attendant is no temporary, minimum-wage employee. Schwimmmeister(in) is a professional title in Germany. To earn it, a person must undergo an apprenticeship [Praktikum] and pass a certification exam, a process comparable to the programs that produce Microsoft Certified Professionals - and reproduce the corporate culture that has fostered Microsoft’s slipshod products. “Apprentice,” then, gesturing toward the old guild system, might have been a more precise English equivalent for Praktikant than “intern.” The new title is even more interestingly odd. A literal translation of Sprudelbad [whirlpool bath or Jacuzzi], the English “bubble bath” typically denotes a private indulgence and thus departs from the decidedly public bathing - an emblem of the public Internet - over which this swimming-mistress presides, though the English words do add the financial connotations of “bubble” and “taking a bath.” My aim here is not to complain about the translation of Berkenheger’s text, which on the whole corresponds nicely to the work’s whimsical spirit, but to point out that the metaphorical connections between the story Die Schwimmeisterin tells and the programming malfeasance its scripting exposes are realigned and attenuated in “The Bubble Bath.” Berkenheger reports that although the translation did involve some recoding of scripts associated with some on-screen behaviors, the real conundrums had to do with the kind of cross-languages asymmetries I’ve pointed out. While Berkenheger’s allegorical tale depends on cultural codes that resist translation, her scripts are largely independent of that story, so - ultimately - the central message of “The Bubble Bath” is not lost in translation: IE’s crappiness turns out to be universally comprehensible.

The translation of Vis’ animation of Michel’s “Ah” involves a somewhat more intimate engagement with the digital processes that instantiate the poem. The version in the Electronic Literature Collection constitutes not only a translation (by the noted Dutch translator Paul Vincent) of Michel’s “Ah” (Douchelied) but also Vis’ re-animation of his original Flash rendition of the poem.The Dutch version of “Ah” can be found at http://www.hprtkst.com A stream-of-consciousness musing on the everyday implications of Albert Einstein’s theories, “Ah” depicts associative thinking as an improvisation on the built-in phonetic chords of a particular language - a process by which sounds turn into phonemes and morphemes, which turn, in turn, into words and ideas.In this respect, the evolution of words from sounds in “Ah” is reminiscent of the gradual emergence of linguistic signifiers from ambient natural and computer-generated noise in John Cayley’s “windsound,” which appears in Volume 1 of the Electronic Literature Collection. Working in the Flash environment, Vis had to create new symbols representing the English words, and he had to reconstruct the movement of these elements and the pacing of their superimpositions, which at times fleetingly produce serendipitous - and of course language-specific - morphs between morphemes as well as transient new words. Lost in the English version is the close phonic and semantic link between the Dutch een [one] and the first three letters of “Einstein,” along with the palindrome-in-passing created by the last four letters of that name and niet [not] (see figs. 1 and 2). Among the gains is the lovely overlap later in the poem by which “the rusting goes steadily on” turns briefly into “the trusting goes steadily on.”

To view a larger version of the image above click here.

Fig. 1. Screen shot of K. Michel and Dirk Vis’ “Ah” (“Douchlied”). Used with permission.

Fig. 2. Screen shot of K. Michel and Dirk Vis’ “Ah” as translated by Paul Vincent. Used with permission.

According to Michel and Vis, translating the poem into English met with few difficulties; achieving a fluent reanimation, however, required a subtle material intervention into the structure of the program that regulates the poem’s flow. Michel and Vis described the process of animating and translating “Ah” in an email message to me on 30 July 2011. In the same way, translating the one-word entries in Peter Cho’s lexicon-like “Wordscapes” into another language would be a more or less straightforward enterprise in linguistic terms, but it would require a painstaking reconfiguration of the animated elements out of which many of these words are built.

Extending this thought experiment - what would it mean to translate this work? - to other entries in Volume 2 reveals different and more intense interdependencies between particular languages and particular computational approaches. Braxton Soderman’s haunting “Mémoire Involuntaire No. 1” is an English-language animated prose poem that slowly replaces words with their increasingly remote synonyms, shifting the mood and implications of its account of an early childhood memory. It might appear that translating it into the language of its Proustian title, or any other language, would run up against the same kind of constraint Tisselli encounters, insofar as Soderman’s work draws its synonyms from WordNet, the English lexical database developed at Princeton. Similar databases are becoming available for other languages, however, and in comparison to “synonymovie,” the set of words seeking synonyms in Soderman’s text is small and, crucially, predefined. By contrast, any natural-language translation of Neil Hennessey’s word-generator “Jabber” would have a radically transformative effect on the language of the programming. Designed as it is to point out how nonsense words tend to conform to the orthographic conventions of the nonsense-maker’s native language, accommodating “Jabber“ ‘s estranging neologism-building operations to the morphological and graphical characteristics of German, Hawaiian, or Tamil, for example, would likely require thoroughgoing revisions to the source code.In “Freeing the Jabberwock: On JABBER, The Jabberwocky Engine,” a philosophically rich essay on the development of his nonsense-poetry generator, Hennessey explains that his work “codifies and automates the disruption of neologism so that each iteration of the generator provides a further estrangement from our language. The unfamiliar smuggled into our language in the guise of the familiar.” Hennessey’s idea is that nonsense words exercise an alienation effect for speakers of languages; Jabber demonstrates the principle in the specific case of English. Rendering it into a language like Chinese might demand a complete departure from the program’s fundamental phoneme-combining logic, so that “Jabber,” as Hennessey conceived it, would for all practical purposes be entirely lost in translation.

Like “Jabber,” Monfort’s “ppg256” is a consciously language-specific poetry generator. In the essay accompanying this piece, Monfort explains in detail how he has defined the strings of characters and bigrams out of which his Perl program assembles two- and four-letter words so that authentic English lexemes occur approximately 60% of the time. As with “Jabber,” it is theoretically possible to “translate” “ppg256” to produce poems in other languages, but the morphological and syntactic features of at least some of those languages would require new strategies (Monfort’s ingenious “atonof” preposition generator, for example, would certainly have to be retooled), and I imagine they would also put pressure on the specifically computational constraints Monfort has set for himself, one of which is keeping the length of the program itself within 256 characters. In comparison with Hennessey and Monfort’s texts, Mez’s “cross.ova.ing 4.rm.blog.2.log 07/08 XXtracts,” despite mezangelle’s (its hybrid language) reliance on the notational conventions of programming languages, might be seen as considerably more “translatable,” at least into languages using the Roman alphabet, as it would require no functionally consequential alterations to a machine-readable, executable code.

I entered the word “translation” into Tisseli’s “synomymovie” multiple times, generating different movies that featured words like “move,” “paraphrase,” “simulation,” and “deception,” as well as delightful outliers like “excretion” and “beguile.” One movie ended on the word “communication” (accompanied by a picture of a man shouting in another man’s ear), another on “assertion” (accompanied by a picture of dense vegetation that may or may not be marijuana).

In the present context, these results seem especially apt. In the interest of communication, literary translation aims to overcome language difference, yet through its myriad losses and compromises the process cannot help but assert that difference, and not always in lamentable ways. In the case of many electronic texts, the literary artifact’s specific materiality also bristles at the approach of the translator. Thinking about the consequences of this or that text’s relative openness and resistance to language-to-language translation compels us to think more precisely about the intersection of each work’s verbal and computational dimensions - the mixed signals that distinguish it from its non-electronic and electronic counterparts - and, perhaps, to rethink the metaphorical uses of “translation” now proliferating in digital literary criticism, which sometimes threaten to collapse the important differences between the verbal and the computational. Furthermore, raising the question of translatability, as do many of the works in Volume 2, shows how difficult it is to isolate language as such from the tangled skein of particular languages out of which particular works of literature emerge.

Lexis/Hexis

If we take seriously Simanowski’s suggestion that “language,” however we scope that term, is stepping aside as the central player in electronic literary arts, what other components are taking the lead, and where are they leading? Choosing among several possible candidates, including the broad categories of “the visual” or “the kinetic,” I will briefly touch on a meaning-making modality that seems to me even more distinctive of computer-based literature. It goes by several names, including “kinesthesia,” “haptics,” and the appealing though somewhat too device-bound designation “mouse reading” proposed by Janez Strehovec (374). It comprises all the means by which electronic texts solicit their readers’ bodily participation alongside their intellectual and emotional engagement. As many writers have discovered, running a feedback loop through the reader’s body has profound aesthetic as well as ethical potential because it establishes a dynamic link between what Aristotle, in Rhetoric, calls lexis - the stylistic, figurative dimensions of a text - and what he calls, in the Nicomachean Ethics, hexis - a word often translated as “habit” or “disposition” and referring to a kind of moral orientation, the degree of control we exercise over our responses to stimuli and the choices that follow from them. Conceptualized in these Aristotelian terms, kinesthetically augmented reading constitutes a psychosomatic exercise of phronesis, and many of the writers represented in Volume 2 have found ingenious ways to tie this deliberative dimension of reading to particular philosophical, ethical, and political themes.

In 2004 I had the privilege of reading/playing/enduring “Screen” in the Brown CAVE under Noah Wardrip-Fruin’s patient guidance. Like many others, I experienced a curious combination of enchantment and anxiety as the texts surrounding me began to fly apart, their disintegration accelerating as I flailed at the airborne words. As the piece drew to its close, my ambivalence shifted to a sense of urgency coupled with something like regret: my efforts to re-member the work had done nothing to prevent its collapse, yet the narration, delivered by a voice now unmoored from the projected text, underscored the indispensability of just such an effort. Although its compressed, personal narrative itself provides no specific historical context, the conclusion of “Screen” powerfully implies that individual memories are bound up in collective histories and that our desire to preserve the former entails a responsibility to honor the latter. For me, “Screen” remains the gold standard for evaluating other works’ success in establishing meaningful links between what they “say” and what they compel their readers to “do.”

Like “Screen,” Bruno Nadeau and Jason Lewis’ video installation “Still Standing” directly ties the very integrity of its text to the movements of the reader, who must stand motionless in front of the screen in order assemble individual letters into the short poem and to maintain its legibility. “Still Standing” resembles Abrahams’ “Separation/Séparation” in both the somatic demands it makes on its reader and its message: preserving our physical and psychic well being in our hyperactive, impatient culture requires a deliberate slowing down. Equally delicate, Bourchardon, Carpentier, and Speln’s “Toucher” offers five sensuous means of influencing the appearance of textual and visual elements on the screen: “move,” “caress,” “hit,” “spread,” and “blow,” each bearing erotic and ethical implications that reinforce the poem’s investigation of the paradoxes of “touch” in computer-mediated relationships. As they acknowledge in their artists’ statement, “this touching experience reveals a lot about the way we touch a multimedia content on screen, and maybe also about the way we touch people, objects [sic] in everyday life” (emphasis in original).French and English versions of this statement can be downloaded as a PDF file from the “Presentation” link on the works’ home page. Drawing on the philosophy of Emmanuel Levinas, the authors of “Toucher” are keenly aware of the moral dimensions of our bodily interactions with communication technologies.

On the opposite end of the kinesthetic spectrum, Sandy Baldwin’s generically “mod”-ified hybrid “New Word Order: Basra” embeds the words of a poem (Billy Collins’ “Introduction to Poetry”) in the environment of a first-person shooter game (Half-Life) and brilliantly entangles the acts of reading, aiming, and hitting a target, while Jason Nelson’s “Game, Game, Game and Again Game” adapts the format of the platform game to propel its reader-player through levels of fractured commentary on close-mindednessed in both on- and off-line culture. In his author’s note on this piece, Nelson describes it as “less a game about scoring and skill, and more an awkward and disjointed atmospheric, the self built into a jumping, rolling meander of life.” In Nelson’s text as in all the others than employ kinesthesia, the reader’s movements are as figural as they are functional; built into the lexis of the text-as-instrument, the integrity of reader’s own embodied self is stylized, rendered legible as an expression of hexis, which is, in the end, life-style.

A beautiful confluence of the two issues I have focused on in this review - diversity and embodied reading - can be found under “X” in Cho’s “Wordscapes.” In Cho’s Processing animation, the red dot indicates the location of the reader’s cursor. As the dot approaches the white dots composing the word “xenophobia” (and representing the individual members of a xenophobic community), a position-detection script (representing xenophobia itself) repels the white dots from the red one (see fig. 3).

Fig. 3. Screen shot from Peter Cho’s Wordscapes. Used with permission.

The brilliance of Cho’s depiction of the corrosive effects of xenophobia lies in the fact that when the white dots act on their aversion to the “stranger” - with whom the reader is, via the mouse, identified - their coherence as a meaningful collective is destroyed. If we focus not on the repellence of the white dots but rather on the power of the red one to dispel their malign solidarity, we see that Cho’s work figures its reader not only as a passive victim of prejudice but also as an agent of monitory disruption in a totalizing but inherently unstable system.

A comparable agency is at work in Volume 2 of the Electronic Literature Collection. I am not implying, of course, that the critical discourse on electronic literature has been xenophobic; in fact, as Tabbi suggests, the collective intellectual project organized around digital literary production is poised to dispel the wraiths of nationalism and chauvinism that continue to haunt more conventional disciplinary formations of literary scholarship. Cho’s agitating red dot, then, might be aligned with the critical imagination shaping the Electronic Literature Collection, one that heralds the unsettling arrival of linguistic, technological, and formal “foreigners,” recognizing that these newcomers bring not only an additive diversity but also unpredictable, transformative challenges. Translation is a key component of this critical hospitality, and it is not by chance that Sandy Baldwin launches his preface to the volume Regards Croisés by wrestling with the problem of translating the book’s title. Baldwin parlays this linguistic conundrum into a consideration of the much broader problem of consolidating the field of electronic literature:

The task of “coming to terms” with digital literature, set out in my initial reflections on translating the title of the collection, is always a task of codifying, normalizing, and locating the field within communities, nationalities, and geographies. It also means resistance to any codification, location, or normalization, a resistance emerging from the problems or gaps or alternative views on the literary work. Such problems are specific to language, specific to literature as the problem space of language, but also specific to national cultures and other communities. (xiii)

Through their perspicacious choices, the co-editors of Volume 2 have problematized the field of electronic literature along the lines Baldwin sketches out. Individually, and each in its own way, the 63 works comprising the collection compel us to reflect on how we are bound - cognitively and somatically constrained, but also socially, ethically, and politically connected, obligated, and implicated - by codes. Collectively, they ask us to check the calibration of the conceptual compasses that guide our thinking about “electronic literature.”

Where Are We Now?

As a collective artistic and critical enterprise, electronic literature is reinforcing the global cultural ties our communication technologies make possible. At the same time, electronic texts - like many in Volume 2 - that insist on their site-specificity and that simultaneously demand and interfere with translation can also work against the displacement, alienation, commodification, and homogenization that accompany globalization, thus helping electronic literature realize the potential Tabbi envisions: to assume the role of a world literature that “can be regarded as an alternative formation to globalization (with its ideal of unconstrained flows of capital and information and its ideology of progressive freedom)” (“World Literature” 26, emphasis in original). In Tabbi’s view, if electronic literature is to fulfill this promise, authors and critics will need to privilege not the novel capacities of this or that technology but rather “a renewed verbal invention as well as a backward-looking, etymological, and […]; typographical exploration” (“World Literature” 35). To “backward-looking” I would add “outward-looking,” underscoring the need to resist the temptation not only of techno-presentism but also of a metropolitan parochialism content to go about its business in English and two or three other languages of European origin. Surveying collections like the one under review here, it is all too easy to point out gaps (the Asias? the Africas? the “Arab World?”). A more important task is to ask after the conditions that have left those openings and to think of them precisely as openings.

The co-editors of the second volume of the Electronic Literature Collection are obviously committed to combating (or at least complicating) the trends toward monolingualism and language-less-ness Simanowksi identifies. As I have been suggesting, such efforts to preserve and foster linguistic diversity are vital because having to think about particular languages - the interactions of the different human languages spoken in different parts of the world and differently positioned vis-à-vis the global dominance of English - helps us to think better about language as such, both as the medium many of us assume, perhaps naively, to be the sine qua non of any artwork claiming to be “literature” and as the somewhat slapdash metaphor for the various other sign-systems (programming “languages,” visual “languages”) that also play essential roles in digital literary production.

Simanowski makes his remarks about the ascendency of English and the demotion of language in the context of a perceptive and rather pessimistic overview of the place of electronic literature in the teaching mission of European and North American universities. For better or for worse, university-based teaching and research remains a powerful driving force for electronic literature, a role that incurs weighty responsibilities. People on campuses throughout the world are rising to the occasion, as Volume 2 clearly indicates: shimmering beneath the collection’s gorgeous interface is an equally alluring map of the personal and institutional networks that have nurtured the production, promotion, and study of computer-based literary arts. As those of us who work in the academy strive to integrate electronic literary texts into our curricula, we should also strive to establish more nodes and strands within this international Web of scholarly and creative interchange. Parallel to this initiative, we ought to develop more compelling rationales for retaining foreign language requirements for undergraduate and graduate students.Noting the discontinuation of courses in textual studies as well as the drawdown in foreign-language requirements in American universities, Tabbi observes that “what professors of literature are jettisoning from the curriculum, it seems, are precisely those disciplinary forms that would allow us to enter both the media and world culture on terms specific to our own practice as writers” (“World Literature” 318). To these ends, we might encourage more projects that take, if not translation as such, the dynamic Aufhebung (the overcoming and upholding) of differences between languages as a central theme.John Cayley’s remarkable “windsound” and “Translation” (Vol. 1) are exemplary of such initiatives; another example is Annie Abrahams’ 2010 Huis Clos/No Exit: On Translation, a multi-location video performance in collaboration with Ruth Catlow, Paolo Cirio, Ursula Endlicher, Nicolas Frespech, and Igor Stromajer, which can be found at http://bram.org/huisclos/ontranslation/

In an essay on translation that resonates in many ways with Tabbi’s reflections on a remediated world literature, Emily Apter asserts that “ideally, one would redesign literary studies to respond critically and in real time to cartographies of emergent world-systems” (581). Insofar as every work of electronic literature represents a creative and often critical appropriation of our unevenly globalizing society’s most powerful means of meaning production, it more than deserves a place in such a revitalized and, I would argue, now unavoidably comparative discipline. For our part, we should think more about electronic literature’s engagements (and complicities) with monolingualism and with the operations of global capitalism not only out of a high-minded sense of ideological duty, but because the insights we derive will help us argue for the field’s contribution, indeed its indispensability, to a polyvocal discourse (nurtured in part, but not exclusively, in universities) that is responsive to innovations in communication technology and, even more important, responsible for cultivating a critical, interpretive orientation toward those emerging modalities of always-located, always-embodied human-human, human-machine, and human-world-system interaction. Crafted by a crew of seasoned travelers, the second volume of the Electronic Literature Collection provides a guidebook to the rugged, exhilarating terrain through which all of us, as readers, writers, and teachers of electronic literature, are now finding our way.

 

Works Cited

Apter, Emily. “The Untranslatables: A World System.” New Literary History 39.3 (2008): 581-98. Project Muse. Web. 25 July 2011.

Baldwin, Sandy. “Preface.” Regards Croisés: Perspectives on Digital Literature. Eds. Philippe Bootz and Sandy Baldwin. Morgantown: West Virginia University Press, 2010. ix-xiv. Print.

Hayles, N. Katherine. Electronic Literature: New Horizons of the Literary. South Bend: University of Notre Dame Press, 2008. Print.

Hennessey, Neil. “Freeing the Jabberwock: On Jabber, the Jabberwocky Engine.” Electronic Poetry Center. Electronic Poetry Center, 10 May 2002. Web. 24 Jul 2011. http://epc.buffalo.edu/authors/hennessey/data/essays/Jabber_epoetry.htm.

Pressman, Jessica. “Reading the Code between the Words: The Role of Translation in Young-Hae Chang Heavy Industries’s Nippon.” dichtung-digital. 2007. Web. 3 Aug. 2011. http://dichtung-digital.mewi.unibas.ch/2007/Pressman/Pressman.htm.

Raley, Rita. “Machine Translation and Global English.” The Yale Journal of Criticism 16.2 (Fall 2003): 291-313. Project Muse. Web. 8 July 2011.

Simanowski, Roberto. “Teaching Digital Literature: Didactic and Institutional Aspects.” Reading Moving Letters: Digital Literature in Research and Teaching. Eds. Simanowski, Roberto, Jörgen Schäfer and Peter Gendolla. Bielefeld: Transcript, 2010. 231-48. Print.

Strehovec, Janez. “In Search for the Novel Possibilities of Text-Based Installations.” Reading Moving Letters: Digital Literature in Research and Teaching. Eds. Simanowski, Roberto, Jörgen Schäfer and Peter Gendolla. Bielefeld: Transcript, 2010. 367-74. Print.

Tabbi, Joseph. “Electronic Literature as World Literature; or, the Universality of Writing under Constraint.” Poetics Today 31.1 (2010): 17-50. Project Muse. Web. 28 July 2011.

—. “Locating the Literary in New Media.” Contemporary Literature 49.2 (2008): 311-31. Project Muse. Web. 28 July 2011.

Tisselli, Eugenio. “Narrative Motors.” Regards Croisés: Perspectives on Digital Literature. Ed. Philippe Bootz and Sandy Baldwin. Morgantown: West Virginia University Press, 2010. 1-10. Print.


          Troisième semaine mondiale de sensibilisation au clitoris du 3 au 10 mai 2015        
« Clitoraid est heureuse d’annoncer sa troisième "Semaine mondiale de sensibilisation au clitoris", du 3 au 10 mai 2015 », nous annonce Nadine Gary, porte-parole de Clitoraid, dans une déclaration publiée aujourd'hui.
« Nos sept premières années d'actions humanitaires ont été consacrées à la réparation chirurgicale du clitoris pour les femmes qui souffrent de mutilations génitales et du 1 au 14 mars dernier, Clitoraid a réalisé sa premiere mission humanitaire au Burkina Faso. 38 patientes souffrant du mutilations génitales ont pu être opérées et retrouver leur intégrité génitale et ainsi leur dignité», précise Mme Gary. « Et, pour la troisième année consécutive, nous souhaitons également faire honneur au plaisir sexuel de toutes les femmes, car toutes les femmes peuvent jouir d'une bonne santé sexuelle ».

Elle ajoute que Clitoraid considère que sa mission est également de sensibiliser le public au sujet du clitoris.

« Ce bel organe a été ignoré, vilipendé, rendu tabou, puis considéré comme un pêché et une honte pendant tant de siècles à cause de l'influence des valeurs religieuses patriarcales de la société » déclare encore Mme Gary. « Il est temps de donner enfin au clitoris l'attention qu'il mérite en tant que seul organe humain ayant une fonction exclusivement liée au plaisir sexuel ».

Il n'est pas nécessaire de remonter très loin dans l'histoire pour comprendre pourquoi les femmes occidentales portent encore les stigmates de la culpabilité sexuelle, selon elle.

« Au 19ème siècle, la "nymphomanie" était considérée comme une maladie (peut-être encore aujourd’hui ?) et l'on estimait que la masturbation provoquait la jaunisse, la cécité et la mort prématurée. En outre, les médecins croyaient que l'excitation sexuelle détruisait l'équilibre mental des femmes. Le clitoris était considéré comme la source de ces problèmes et d'autres supposés. En 1865, le président de la British Medical Society a recommandé l'excision du clitoris comme remède à des maladies telles que l'épilepsie et l'hystérie.

Curieusement, les scientifiques n'avaient aucun intérêt (ou aucun fonds) à consacrer à une recherche complète sur le clitoris jusqu'au 21ème siècle ! Le docteur Helen O'Connell, urologue à Melbourne, en Australie, a finalement cartographié complètement et précisément cet organe féminin dans toute sa splendeur voluptueuse en utilisant un appareil IRM ».

Mme Gary précise que le clitoris est l’organe qui possède le plus de terminaisons nerveuses dans l'ensemble du corps humain : environ 8000 (en comparaison, le pénis en a environ 5000).



« L’étude échographique du Dr O'Connell indique que le clitoris atteint 8 pouces (20 cm) de longueur » ajoute Nadine Gary. « Il est composé d’un épais tissu érectile très agréable qui est enroulé autour de la vulve comme deux magnifiques arches érogènes ». (Ce qui explique pourquoi il est possible de restaurer chirurgicalement un clitoris dont la pointe a été mutilée.)

Pour la Semaine internationale de sensibilisation au clitoris, nous invitons toutes les femmes à organiser des événements dans leurs communautés.

« Que ce soit au moyen de conférences pédagogiques, d’expositions artistiques, de chansons et de danses, ou d’une « nuit entre filles » pour partager des expériences et des connaissances... chaque femme peut fêter sa beauté sexuelle dans le mode d’expression qui lui plait », conclut Mme Gary. « La libre expression de sa sexualité apporte l'estime de soi et l'équilibre intérieur, alors vénérons le clitoris dans toute sa splendeur, libéré de toute honte et culpabilité ».

          J'ai trouvé le chaînon manquant !        

Comme vous le savez peut-être, je penche depuis un bout de temps sur une amélioration du schéma actuel de cartographie des transports en commun. Outre diverses clés et valeurs pour préciser le niveau de service des lignes, et les informations disponibles aux arrêts, e principal point de ma proposition consiste en une division de ce qui est aujourd'hui représenté par public_transport=platform. Aujourd'hui, ce tag peut designer un quai, un poteau d'arrêt ou un abri. Ma proposition utilise des tags différents pour chacun e ces cas. Or en pratique, le poteau est toujours sur le quai non ? Pourquoi les séparer alors ? Hé bien parce que le poteau peut ne pas être sur le quai ! Samedi dernier, lors d'une visite à Milan, j'ai rencontré un arrêt de ce genre. Le tramway circulant au centre de la chaussée, le quai est en îlot au milieu de la chaussée. Mais par contre, le poteau a été planté au bord de la chaussée, sur le trottoir. Il y a donc une voie de circulation entre le poteau et l'arrêt. Voici l'arrêt en question


          Bus'n & Tours'n        

Bon, va tête falloir que je songe arrêter les jeux de mots multi-linguaux pourris comme titre... Tout ça pour dire que désormais, à ma conaissance, tous les réseaux de bus de Touraine (aussi connu en tant qu'Indre-et-Loire, département 37 ou trucs autour de Tours) est désormais cartographié dans OSM. Cela inclut donc le réseau Fil Bleu (bon, c'est pas nouveau, ça fait deux ans que c'est le cas), mais aussi le réseau Fil Vert (bon, je le reconnais, j'ai sauté quelques services scolaires biscornus), le réseau Sitravel de Chinon, la ligne Fil Rouge de Château-Renault et le Bus d'Amboise (j'ai fait que la ligne régulière, pas les lignes à réservations pour + de 60 ans), ainsi que les ligne TER routières (lignes TER Centre exclusivement ou partiellement exploitées en Car, et ligne Poitou-Charentes Thouars-Chinon)

Pour ce qui est de mes projets maintenant, c'est revenir en Isère et achever le réseau Transisère (manque le nord du département). À voir si j'arrive entretenir un tit temps le réseau TER/TGV Intercités aussi, même si c'est peu probable. Aussi, je me prépare pour Septembre et la restructuration du réseau du Grésivaudan, qui de viendra Tougo. Je pense qu'à l'occasion, je verrais si il faudra que je retouche au réseau du Voironnais.


          C'est TER-miné \o/        

Aujourd'hui est un grand jour. J'ai fini mon tour de France des TER dans Openstreetmap. Cela m'aura pris une dizaine de mois. Je me suis basé sur ma proposition de schéma pour la cartographie. Voici donc les relations que ça donne. Aussi, le résultat est bien visible dans OpenPtMap : la France est désormais maillée de lignes ferroviaires. Et pas que ! Parce que j'ai aussi fait les lignes TER routières. Par contre, pour celles-ci, les données étaient parfois très peu précises quant à la situation des arrêts, et absentes pour ce qui est des itinéraires empruntés entre chaque arrêts. Du coup, elles sont très perfectibles. D'ailleurs, au moindre doute, j'ai mis des tas "fixme". Aussi parfois pour les lignes ferroviaires, il est n'est pas impossible que j'ai fait quelques gaffes sans m'en rendre compte. j'invite donc chacun à jeter un coup d'œil aux TER dans sa région voir si il n'y a pas d'erreurs. Aussi, je n'ai pas vérifié si en décembre dernier certaines lignes TER que j'avais déjà cartographiées avaient changé. Même, il n'est pas impossible que certaines de mes contributions aient déjà été modifiées par d'autres. Désormais, je vais me baser sur ce squelette afin de faire les liges TGV et Intercités. Bon, pour les numéros de lignes sur celles-ci, je me suis bien fait avoir... Je prévoyais d'utiliser celles des fiches horaires, mais la SNCF a arrêté les fiches horaires ! Heureusement qu'en (trop) bon ferrophile, je m'étais lancé dans une collection de fiches horaires, et qu'il ne m'en manque qu'une ou deux !


          Book Review: Landfalls by Naomi J. Williams        
First line: No one knew what to make of the new galley stoves when they arrived.

I first read this book in 2015 and adored it, and I was delighted when my book club selected it to read last month. Rereading it reminded me of what is so fabulous about this book, and I think it might be edging into one of my top ten all time favorite books. (!)

As with all the books I adore, I feel like I can't adequately explain why I loved it so and what about it was so compelling. In this case, it's everything -- the premise, the characters, the narrative style -- and this reread had me once again breathless in awe.

Williams recounts the late 18th century voyage of the Astrolabe and Boussole, two French frigates tasked with further global exploration, scientific inquiry, and cartographic correction. Each chapter follows a different crew member, and details the dramatic and tragic journey of the two ships.

I hesitate to say too much about what happened (don't google before reading) because much of my pleasure derived from learning about the voyage as I read. Williams beautiful articulates each character and every chapter is infused with tragic humanity; we're given hints of the fate to come, and can only watch everything unfold.

Though focused on the French sailors, Williams still includes point of view from the indigenous communities the expedition met as well as women, which I greatly appreciated. While it's obvious she has keen sympathy for the French expedition, she doesn't make light of their hubris and colonialism, nor does she exoticize the indigenous populations the expedition meets (no cafe au lait skin comparisons!).

The narrative style changes depending on the character, but even though we shift points of view, there is still rich emotional resonance in every offering. I teared up more than once -- I actually miss some of these characters! -- and I still feel breathless awe at Williams' skill in evoking emotion, place, and era so efficiently.

I first read this book at the beach in 2015, cracking up my wife and mother because I kept gasping aloud every few pages; later that year, my brother -- who has pretty divergent reading tastes -- called me to recommend this book, having loved it himself. Regardless of whether you're a fan of historical fiction or not, if you enjoy books of very human foible and weakness, hope and aspiration, consider this novel -- I think you'll find it compelling.

Title: Landfalls
Author: Naomi J. Williams

Genre: Fiction (Historical / 18th Century / Nautical / Exploration)
Publisher/Publication Date: Farrar, Straus and Giroux (8/4/2015)
Source: Library
Reading Challenges: Historical Fiction


          webex Itrust Cartographier les réseaux et sous réseaux informatiques        
Secuobs.com : 2016-04-06 16:17:36 - Global Security Mag Online - Cartographiez vos réseaux et sous réseaux, tout en identifiant l'ensemble des machines connectées Les chiffres liés aux problèmes de sécurité ne cessent d'augmenter On sait que 90pourcents des problèmes de sécurité sont de sources internes et que 20pourcents des failles de configuration représentent 80pourcents des vulnérabilités Enfin, seules 11pourcents des attaques sont réellement bloquées, 89pourcents provoquent des dégâts qui peuvent engendrer entre 2 et 136 jours hommes pour l'analyse, la correction et la stabilisation complète d'un - Événements
          Comités interministériels aux ruralités        

Les enjeux et les objectifs

 

Le 3e Cir s’est déroulé à Privas, en Ardèche. Un département de 330 000 habitants, à l’image des enjeux, difficultés et innovations que connaissent et génèrent les campagnes, zones périurbaines et montagnardes, aujourd’hui.

En effet, si l’Ardèche est en butte aux zones blanches de téléphonie mobile, à la désertification médicale, à l’absence de commerces de proximité, par exemple, elle est aussi source de solutions nouvelles. Les Ardéchois voient ainsi apparaître des maisons de santé et de services au public, s’installer des aires de covoiturage, émerger des espaces de travail partagés, se développer l’agriculture durable et la croissance verte ou s’animer la vie artistique et culturelle…

Télécharger le dossier de presse du 20 mai 2016, "Nos Ruralités, une chance pour la France"

Objectif du 3e Cir : impulser et accroître une nouvelle dynamique en faveur de la ruralité, de l’attractivité des territoires et de la qualité de la vie.

 

 

Ce 3e rendez-vous s’inscrit dans la continuité des deux premiers comités interministériels des 13 mars et 14 septembre 2015, lors desquels le Gouvernement s’était fixé des priorités d’action.
 
Ce comité interministériel a permis :
  • de dresser l’état d’avancement des 67 mesures déjà mises en œuvre pour la santé, le logement, la mobilité, l’éducation, la revitalisation rurale, l’investissement local… ;
  • d’impliquer les élus et les acteurs locaux autour de nouvelles mesures.

 

etat_avancement.png

etat_avancement.png, par flavictoire

 

 

Des mesures qui facilitent le quotidien

Sur 61 millions de Français, recensés en 2011, un habitant sur cinq se situe dans une commune rurale, placée sous l’influence de la ville, comme c’est le cas des trois quarts des communes rurales. Mais, près de 5 % de la population vit, elle, dans des communes isolées, éloignées de l’influence des pôles urbains (source : Insee), donc des bassins d’emploi et, bien souvent aussi, des services indispensables en termes de santé ou de démarches administratives, par exemple.

Les mesures des Cir visent donc à faciliter le quotidien de tous les habitants des territoires ruraux et à dynamiser le développement économique de chaque territoire.

 

En un coup d’œil

integration_info.png

integration_info.png, par flavictoire

 

Témoignages


 

La méthode

Les acteurs ruraux concertés

Le comité s’est déroulé autour de tables rondes, notamment, au cours desquelles ministres et acteurs de la ruralité ont pu échanger sur les différentes thématiques du Cir.

À cette occasion, Olivier Dussopt, président de l’APVF, Vanik Berberian, président de l’AMRF, Patrice Joly, président de l’association Les Nouvelles ruralités, Rachel Paillard, représentante de l’AMF, et d’autres participants encore, ont présenté des propositions, qui ont été retenues par le Gouvernement et figurent parmi les nouveaux engagements de ce 3e Cir.

 

À savoir
 
Les nouvelles mesures sont issues d’une large concertation, conduite avec les acteurs de la ruralité et les associations d’élus. Leurs propositions et contributions ont enrichi les engagements du 3e comité interministériel aux ruralités.
 
Participants : Association des maires de France (AMF) ; Association des maires ruraux de France (AMRF) ; Association des petites villes de France (APVF) ; Association nationale des Pays et PETR (ANPP) ; Assemblée permanente des chambres de métiers et de l’artisanat (APCMA) ; Chambres de commerce et d’industrie (CCI France) ; Assemblée permanente des chambres d’agriculture (APCA) ; Familles rurales ; Association Nouvelles ruralités ; Collectif Ville Campagne ; Leader France ; Union nationale des acteurs et structures du développement local (Unadel) ; Fédération nationale du sport en milieu rural (FNSMR) ; Mouvement rural de jeunesse chrétienne (MRJC) ; Confédération nationale des foyers ruraux (CNFR) ; Fédération nationale des chasseurs (FNC) ; Ruralité, environnement, développement (RED) ; Mouvement Européen de la Ruralité.

 

De nouvelles mesures pour les ruralités

Le Cir du 20 mai 2016 a permis de proposer 37 nouvelles mesures. Elles ont pour objectif de :

  • relever le défi de l’égalité en assurant aux habitants des territoires ruraux un accès facilité aux services publics et aux réseaux essentiels à leur vie quotidienne ;
  • veiller au développement de chaque territoire ;
  • fédérer les initiatives publiques et les énergies locales.

 

 

Un « contrat de ruralité Â» pour plus de cohérence

Pour adapter l’action de l’État aux enjeux locaux et aux spécificités de chaque territoire, le Gouvernement veut apporter une réponse adaptée à leurs besoins et leurs projets à travers « un contrat de ruralité Â». Ce contrat permettra un accès adapté et coordonné aux mesures en faveur de la ruralité. Il sera doté d’un fonds d’aide aux investissements.

Nouvelle forme de contractualisation, les contrats de ruralité (…) donneront plus de force et de lisibilité à notre politique en faveur des territoires. Ils permettront d’en décupler les effets en rassemblant l’ensemble des acteurs concernés d’un même territoire, qui seront ainsi invités à conjuguer et fédérer leurs énergies. (…) Ces contrats pourront mobiliser l’ensemble des crédits de droit commun que constituent le volet territorial des CPER, la DETR, les fonds européens mais aussi, évidemment, le fonds de soutien à l’investissement local Â», a relevé Jean-Michel Baylet, ministre de l’Aménagement du territoire, de la Ruralité et des Collectivités territoriales.

Objectifs ? Cette contractualisation – proposée, de préférence, aux pôles d’équilibre territoriaux et ruraux (PETR) ou aux intercommunalités rurales – visera à la cohérence et à l’impact des actions en matière d’accès aux services publics, de création d’équipements, de revitalisation des bourgs-centres, de soutien à l’ingénierie ou d’animation socioculturelle.

Comment ? Ces contrats seront conclus, pour une période pluriannuelle, avec une clause de revoyure à mi-parcours.

Ils pourront être ouverts, selon les cas, au partenariat avec d’autres collectivités territoriales (Conseils départementaux et régionaux).

Ils intégreront l’ensemble des mesures issues des comités interministériels aux ruralités et agrégeront l’ensemble des dispositifs existants : volets territoriaux des contrats de plan État-Région (CPER), Fonds européens structurels et d’investissement (Fesi), dotation d’équipement des territoires ruraux (DETR), Fonds de soutien à l’investissement local, etc.

Quand ? Les premiers contrats seront élaborés à partir de l’automne 2016.

 

Zoom sur : l’éducation en zone rurale et de montagne, une priorité
 
À l’occasion de ce rendez-vous interministériel, Françoise Cartron, sénatrice de la Gironde et vice-présidente du Sénat, a remis son rapport sur la mise en place des projets éducatifs territoriaux (PEDT), au Premier ministre, Manuel Valls.
 
Consultable sur :
http://www.education.gouv.fr/cid102224/rythmes-scolaires-rapport-sur-mise-place-des-projets-educatifs-territoriaux-pedt.html#Rapport
 
De son côté, le sénateur Alain Duran a remis son rapport pour amplifier la démarche de contractualisation avec les élus locaux en faveur de l’école rurale et de montagne.
 
Consultable sur :
http://www.education.gouv.fr/cid102225/rapport-sur-mise-oeuvre-des-conventions-ruralite.html

 

Zoom sur : l'expérimentation de services publics itinérants
 

Le député Nicolas Bays a remis au Premier ministre, le 20 mai dernier, un rapport sur les services publics itinérants. Ses recommandations visent à promouvoir de nouvelles formes d’offres de services au public, fondées sur le déploiement d’unités mobiles pour aller vers les habitants qui en ont le plus besoin.
 
L’une des nouvelles mesures du Cir porte sur une expérimentation de ces services itinérants en milieux rural, montagnard et périurbain. Le calendrier prévoit le lancement des premières expérimentations au second semestre 2016 dans l’Aisne, le Jura et le Pas-de-Calais.

 

Le point d’avancement

 

Aujourd’hui, où en est-on ?

Depuis mars 2015, date du premier Cir, plusieurs mesures ont déjà trouvé un déploiement et une mise en œuvre concrets.

Le 3e comité interministériel aux ruralités du 20 mai dernier, à Privas, a permis de mesurer la réponse d’ores et déjà apportée par l’État en faveur de l’égalité des territoires, ainsi que le chemin restant à parcourir dans la poursuite de cet objectif.

integration_chiffres2.png

integration_chiffres2.png, par flavictoire

 

 

Suivre l’état d’avancement des 67 engagements des Cir de 2015 :

  • priorité 1 : garantir à tous l’égalité d’accès aux services ;
  • priorité 2 : amplifier les capacités de développement des territoires ruraux ;
  • priorité 3 : assurer la mise en réseau des territoires ;
  • priorité 4 : accompagner les collectivités et les territoires.

Un atlas départemental rend compte de l’état d’avancement des principales mesures prises lors des deux comités interministériels aux ruralités de 2015.

Télécharger l'atlas

 

Cartographie de la ruralité en mouvement, partout en France

En 2015, les comités interministériels aux ruralités ont impulsé, sur tout le territoire national, un déploiement important de services de proximité. Cinq cartes thématiques reflètent les premiers résultats de cette démarche de mobilisation autour, notamment, de l’accès aux soins et aux services publics et de la téléphonie.

cir3-preview-cartes-nationales.jpg

cir3-preview-cartes-nationales.jpg, par flavictoire

Télécharger les cartes thématiques

 

Télécharger le dossier de presse du 20 mai 2016, "Nos Ruralités, une chance pour la France"

 

Le 2e comité interministériel aux ruralités, qui a réuni 12 ministres autour du président de la République et du Premier ministre le lundi 14 septembre 2015 à Vesoul (Haute-Saône) a fait un point étape sur la mise en œuvre des 46 mesures du comité interministériel du 13 mars 2015. François Hollande a annoncé 21 nouvelles actions pour améliorer le quotidien des habitants et l’attractivité des territoires ruraux. Parmi lesquelles :

  • la mise en service de 1 000 maisons de santé d’ici 2017 ;
  • une enveloppe d’un milliard d’euros pour soutenir l’investissement des  communes et intercommunalités ;
  • un prêt à taux zéro pour la réhabilitation de logements étendu à 30 000 communes rurales.
De nouvelles mesures pour la qualité de vie & l'attractivité des territoires - Quelques chiffres

cir_chiffres_nouvellesmesures.jpg, par cget

 

Téléchargez

 

À noter

Le Commissariat général à l’égalité des territoires assure le suivi de la mise en œuvre des mesures du Comité interministériel aux ruralités.

Vendredi 13 mars 2015, s'est tenu à Laon (Aisne), le comité interministériel aux ruralités présidé par le Premier ministre Manuel Valls

 

Téléchargez

 

Editorial de Sylvia Pinel

Le comité interministériel aux ruralités permet de faire la synthèse des travaux et des mesures issus des assises des ruralités que j’ai organisées à l’automne 2014. Il permet également de donner de la cohérence et du sens à l’ensemble des actions conduites par le Gouvernement depuis 2012 en direction de ces territoires et de leurs habitants. De nombreuses mesures ont été prises concernant l’accès aux services publics, et notamment de santé, l’éducation, le développement économique, le soutien au commerce et à l’artisanat, la transition écologique, l’évolution de l’agriculture. Mais des besoins nouveaux ne cessent d’apparaître auxquels le Gouvernement veut répondre. Tous les leviers de l’État sont en permanence mobilisés au service du développement et de l’attractivité de ces territoires.

Les ruralités sont diverses. Elles ne peuvent plus aujourd’hui être considérées comme un tout homogène, ni dans une logique d’opposition avec les territoires urbains. C’est pourquoi le Gouvernement a choisi de revoir en profondeur son mode d’action suivant trois directions :

Tout d’abord, il faut garantir à chaque citoyen un égal accès aux services, qu’ils soient publics, économiques, éducatifs, culturels ou de loisirs. C’est au fondement du pacte républicain et l’État doit être le garant de cette égalité qui doit guider toutes les territorialisations des politiques publiques.

Ensuite, il faut renforcer les capacités des territoires et de leurs élus à porter et développer des projets qui permettent une proximité de l’action publique, son adaptation aux besoins réels de nos concitoyens et une efficacité dans leur mise en œuvre.

Enfin, l’objectif du Gouvernement est bien de dépasser les logiques de concurrence territoriale qui ont délité le lien social, qui ont opposé les territoires les uns aux autres. Nous relèverons ce défi en renforçant les pôles de centralité que sont les centres-bourgs et les villes moyennes, et en développant les liens entre territoires ruraux et urbains. C’est donc en ayant le souci du développement de chacun, et en construisant des liens forts entre ces espaces et leurs habitants, que nous pourrons recréer de la confiance et témoigner du respect et de la considération que nous portons pour les territoires ruraux.

Sylvia Pinel

Infographie - Nos ruralités, une chance pour la France

Infographie - Nos ruralités, une chance pour la France, par cget

 

Mots clés: 

          QGIS Ordnance Survey Opendata Cartographic Styles        
QGIS Ordnance Survey Opendata Styles Ordnance Survey have released Style Sheets for their #opendata including ESRI (ArcGIS) and Quantum GIS (QGIS) style sheets. Most strikingly for the Vector Map...

Map and GIS News finding blog. With so many Maps and GIS sites online now it is hard to find the good from the not so good. This blog tries to cut the cream and provide you with the newest, fastest, cleanest and most user friendly maps that are available online. News has location and it is mapped.

          Recording Geospatial Data        
Considering my career is in GIS (geographic information systems), I've rarely mentioned anything about mapping in my blog posts and only have one post that discusses the pros and cons of different ways to display butterfly records, found here.
In this post, I will attempt to give a brief overview of some common methods of recording data and provide some tips for the method that has worked best for myself.

GPS Unit
GPS (global positioning system) units come in many shapes and sizes, the most common of which are small hand-held units, such as the Garmin eTrex, and vehicle navigation units, such as the Garmin Nuvi. I personally prefer Garmin products for the best results and user-friendly interfaces, although Magellan is another popular brand. I won't go into all the pros and cons of the two brands, there are plenty of reviews on the internet for that! If you really want to study the nitty-gritty details, this is a good place to start: http://www.gpsinformation.org/dale/mvsg.htm
A serious lepidopterist needs to record detailed location information for any butterfly records, therefore a GPS device is essential. While I used three different GPS units through my early years of records-keeping, I have now switched over to the following system because 1) it is combined with my phone, so I don't have to carry extra equipment, and 2) I find it easier to use and more flexible.

Avenza PDF Maps
Avenza is a free app for Apple and Android devices. It uses the built-in GPS in your smart phone to tell you if you are on a particular map, and allows you to add waypoints and track a path (hiking, biking, etc.) similar to a standard hand-held GPS unit. This app came out a few years ago and has been rapidly gaining in popularity. Many companies are now using it to collect data because it is so easy to use, reduces the equipment (everyone has a phone, now they don't also need a GPS unit), and allows them to use custom company maps. Avenza has a map store where you can purchase standard maps (on Apple devices, it is linked through your iTunes purchase account). They are constantly adding new maps and have a wide range of options, anywhere from historic maps to standard road maps, National Geographic Trails Illustrated maps (my personal favorites!) and other recreation maps. Some maps are free, but most range from around $2 to $15 and are comparable to or slightly cheaper than paper versions.

Because I am a GIS analyst by profession, I am able to make my own custom maps in ArcMap (ESRI software) and upload them to the Avenza app on my phone. However, I primarily use the National Geographic Trails Illustrated maps purchased through the Avenza store. They have proved to be the most accurate for trails here in Washington and I like the cartographic style (symbols and colors). The specific maps I have purchased are:
821::Columbia River Gorge National Scenic Area
822::Mount St. Helens and Mount Adams
825::Alpine Lakes Wilderness
It appears their 810-series are Oregon maps and 820-series are Washington. Most of these maps are currently $12 and include both sides of the paper version of these maps (i.e. the purchase will download two PDF maps).

Another series I find useful are the Benchmark Recreation Maps. They are a single map of an entire state, exactly the same as you find in the front of Benchmark Atlases. Avenza doesn't offer them for all 50 states yet, but most of the western states, including Oregon and Washington, are available for only $5 each! While they lack the detail you'll see in the trails maps, if you are in an area you're very familiar with or otherwise don't need to see any of the details, they are very useful as a cheap alternative for simply allowing you to save waypoints to the map to store the same information you would on the detailed maps. I used these Benchmark maps for all the states I visited during my two week road trip this summer (the LepSoc conference I blogged about). They worked great because 1) I wasn't always sure which location I'd be catching butterflies in, so a statewide map covered my bases, 2) it was cheaper than buying detailed PDF maps of everything, and 3) I still like to be old-school and use paper maps (mostly state gazetteers/atlases) for general navigation and trip planning. So, I planned out the general route using my road atlases (yes, I brought a book bag full of them!), entered the general route into my Garmin Nuvi GPS for turn-by-turn navigation, then saved placemarks in Avenza whenever I stopped, both to mark the coordinates and easily enter notes about the butterfly species I saw, all of which I transferred to my notebook each evening for easy reference and as a backup.

I strongly encourage everyone to try out this app, it may not be for you, but it is certainly worth trying if you are looking for a simple and easy way to record information when you're out and about in the woods!
Avenza app - views 1 and 2
View 1 is what you see when you open the Store in the Avenza app. You can either browse the maps by group, such as clicking on National Geographic and then the "Trails" option, then scroll through the list of maps, or you can click on the Find Maps button at the top of the screen, which will take you to something similar to view 2. You can pan around the map and zoom in or out to areas of interest to see if there are any maps for that area (the blue pins), or you can click in the gray search box at the top and type in a keyword, or a specific map title such as the ones I listed above.

Avenza app - views 3 and 4
Once you have purchased a map or uploaded your own custom maps, they will appear as shown in view 3. As you can see under each title, it tells you if you are "on map" or the general direction and how many miles away you are from that map. This makes it easy to scroll through the maps and find the one you need to view if you have a bunch of them. View 4 shows part of the Benchmark Washington recreation map with several pins I saved during my trip to Goat Peak, Slate Peak, and the Sinlahekin last month. The blue circle in the middle of the screen is where a pin would be dropped if you added another one. The lat/long coordinates at the bottom of the screen correspond to the point in the center of the blue circle; they change as you move the map around.
If you click on the arrow in the bottom left corner of the screen, it will turn blue and the map will center on your current location if you are within the extent of the map, otherwise it will say "not on map".

Avenza app - views 5 and 6
Views 5 and 6 show one of the National Geographic Trails maps with several pins that I've color-coded for different trips to the same location. When you touch any of the pins, you will see a pop-up, as in view 6, with the pin name. If you touch the "i" button it will open up the attributes of that pin (aka placemark).

Avenza app - views 7 and 8
View 7 is an example of what you'll see when you open the attributes of a pin/placemark. By default, when you drop a pin on the map it will have a name of Placemark 1, Placemark 2, etc., but you can edit it to whatever you want by clicking on the little gray X button on the right and typing in a new name, such as my note here for "Coronis Fritillary Females". Note that it also saves the date and time below the name. This is also where you can change the pin color or style (Icon button), the description (a box where you can type detailed information, such as a list of butterfly species seen at the location), or add photos (it will ask if you want to take a picture or choose one from your camera roll). As long as you keep those photos in your camera roll/on your phone, they will be available through this app. You can export them as part of the KML file and they will be viewable in Google Earth. Once you export them as a KML, you can delete the photos from your phone if you wish (the KML will have an embedded copy of them). If you click on the Location button you can view the full lat/long coordinates for that point. You can also edit the Layer attributes/schema, but I rarely mess with that. See view 9 below for more on that.
View 8 shows some of the options available in the map (click on the wrench button in the bottom right corner of the screen in the map view to get here). The measure tool allows you to measure distances or areas on the map by hand. If you wish to track your movements during a hike or bike ride, use the Record GPS Tracks tool. It will record information even if you close the app. This tool needs to have a clear GPS signal, so I recommend keeping your phone in a shirt pocket or outside pocket of your backpack. I covered it up too much one time and it kept losing the signal, so the final track had lots of sharp zigzags and said I traveled twice as far as I actually did!

Avenza app - views 9 and 10
View 9 shows several layers that are within a single map. In views 5 and 6, if you click on the symbol on the bottom right that looks like a pin with three lines next to it, it will take you to this view. As you can see here, I've grouped the placemarks (pins) by year to help separate different trips to the same area. It also shows one layer, the "Lost Creek Old Growth", which is a polygon feature I exported from ArcMap and brought into Avenza for a hiking trip. The two buttons on the bottom right are the import (left) and export (right) options. When you click on the export button, you'll see something like view 10. You can choose to email a KML file (as shown) or pick a different option and format. If you choose the email option, once you click Export (top right of screen), it will open an email window where you can enter a recipient (I usually send to myself) and it will automatically attach the KML file. You can then open the file in Google Earth on any computer to view your points! It usually keeps the same point color and style as seen on the maps, and you can click on them in Google Earth to view the data (same info as in view 7), including any photos that you may have added.
The KML files are also easy to bring into ArcMap using a conversion tool.

Overall, Avenza is very easy to use but takes a little bit of exploring to figure out where all the options are. They do have a "Getting Started" map that tells you what most of the buttons do, but I learned more just by playing around with everything. It's almost impossible to mess up anything, so just explore and experiment. Go to their website for more information: https://www.avenzamaps.com/maps/features.html

In summary, these are my recommendations...
Save good butterfly locations using a vehicle navigation GPS (eg. Garmin Nuvi) and Avenza.
When I'm driving around in the mountains and find a particularly good butterfly spot in an area I'm unfamiliar with, I'll save the location in my Garmin Nuvi so that I can navigate directly to it in the future. If I collect any butterflies in that spot, I'll also save a waypoint in Avenza so I have the date, time and lat/long coordinates for future reference.
Navigate to butterfly locations using a vehicle navigation GPS.
You'll need a GPS unit that provides turn-by-turn navigation. A smart phone may substitute for this, but it is usually hard to find a particular location in the mountains on your phone.
Record butterfly data in Avenza PDF maps.
Allows you to save waypoints that include lat/long coordinates, date and time, along with any photos you might take with your smart phone, and is very easy to enter additional notes. Also will record hiking tracks with approximate length and elevation changes. Is easy to export all points and tracks as a KML file that can be opened in Google Earth or converted to a shapefile for use in ArcMap (GIS software).

          Mapping for the busy cartographer: today moving dots        
This article describes how to make a quick map using some nice services we have at our hands. Nowadays almost everyone can create a maps using services like CartoDB, Mapbox, uMap or even Google My Maps. In this case I’ll show how I used the incredible flexibility of CartoDB to combine some Postgres/PostGIS SQL with CartoCSS […]
          Agloemération fictive        
Résumé :
En 60 ans, la ville d’Agloe (état de New York) est passée du statut de “ville imaginaire” à “ville réelle” pour finalement redevenir une ville fictive.

Détails :
Dans les années 1930, deux créateurs de cartes de la General Draft Company (GDC) décident d’inventer et de cartographier une ville imaginaire : Agloe. Cette manœuvre avait pour but de pouvoir identifier et prouver d’éventuels plagiats de la part des concurrents. Si le procédé est malin, il se retournera contre eux dans les années 1950, quand un petit supermarché nommé Agloe General Store ouvre à l’endroit précis où ils avaient positionné leur fausse ville. Le commerçant avait repéré le nom sur une carte Esso, justement client de la GDC. Plus tard, Agloe apparaît sur la carte d’un éditeur concurrent, Rand McNally. Sûre d’elle, la GDC l’attaque alors en justice mais perd, Rand McNally prouvant l’existence de la ville par le biais du supermarché. Malgré la fermeture du magasin, la ville d’Agloe continuera d’être indiquée jusque dans les années 1990. Jusqu’en février 2014, elle figurait même encore sur Google Maps.

En savoir plus / commenter

          Digital Mapping Camera Replaces Film        
The Cartographic Institute of Catalonia is giving up film-based technology for a fully digital workflow.
          Mise en ligne de la carte dynamique des risques majeurs        
La DEAL met à disposition un outil de cartographie dynamique sur les risques majeurs.
          Mise en ligne de la carte dynamique de l'OFAG        
L'Outil du Foncier Agricole (OFAG) est une application cartographique développée initialement par l'ASP en 2009 afin d'aider les agriculteurs dans leur démarche de recherche de foncier agricole.
          La cartographie des formations végétales particulières du PAG en ligne        
Le territoire du sud de la Guyane est caractérisé par de nombreuses formations végétales notables. En effet, végétations basses, affleurements rocheux et forêts à Parinari sont observables à partir d'images satellites ou directement sur le terrain. C'est dans l'objectif de localiser ces formations qu'une cartographie a été réalisée à partir d'images SPOT 5.
          Concours "Carte Blanche"        
Le Premier ministre lance " Carte blanche ", un concours national de cartographie qui invite à imaginer la nouvelle carte de France, en mettant en scène le territoire avec ses 13 nouvelles régions et ses territoires ultramarins, ses départements et ses métropoles.
          Introduction: Tim Fulford        
July 2012
TEI

Introduction: Tim Fulford

1.        Robert Bloomfield’s poem, tour journal and sketch book The Banks of Wye (1807-11) represents a visually and verbally rich response to the fashionable tour of the Wye that the poets Thomas Gray and William Wordsworth, the artists Paul Sandby and J. M. W. Turner, and the picturesque theorists William Gilpin and Uvedale Price, made popular. Entering the valley later than these tourists, Bloomfield took an already well-travelled and much-described route. His Wye texts reveal the cultural significance the tour had already acquired but also show the way that tourism redefined existing genres. It put the topographical and Georgic poem in motion: views were now observed from a boat or carriage rather than from hilltops. It encouraged appreciation of native, rather than Italian, scenes and antiquities, identifying the tourist patriotically with British, rather than classical, landscape and history. And it promoted a tradition of amateur enquiry: Bloomfield's manuscript sketch- and scrap-book is an example of the newly popular fashion for on-the-spot sketching. Full of self-penned images of views and ruins, it is a fine example of the visual culture that the English gentry began to produce and to value, a homemade book to pass around in drawing rooms before turning either to the latest set of engravings published by Mr Westall or Mr Turner or to the poetic tour —The Banks of Wye — that Bloomfield himself issued in print. Bloomfield, indeed, hoped to issue not just the poetic tour but also the 'whole triple-page'd Journal, Drawings, prose, and rhime'. [1]  Cost prohibited such a publication at the time: only now, with this composite edition of poem, prose, scrap- and sketch-book, can we, the public, see the multimedia response to the Wye that was then accessible only to the intimate friends among whom the manuscript circulated.

2.        If this edition reveals much about the picturesque tour and the visual and manuscript culture of the Romantic era, it also tells us much about Bloomfield himself. Although hardly a household name or canonical author now, he was, when he took his tour of the Wye valley and the Welsh borders in 1807, already established as the best-selling 'pastoral poet' of the age—far better known than Wordsworth and Coleridge, whose Lyrical Ballads his own Farmer's Boy (1800) outsold by twenty to one. Indeed, in the eyes of contemporaries, it was Bloomfield, rather than the two West Country and Lakeland poets we now call 'Romantics', who had revived both landscape verse (the dominant poetic genre in the 1700s) and Rural Tales (the title of his second, 1802, collection) for the new century. But he had not done so by harvesting the already-poetic landscape of the Wye valley. For although Bloomfield admired the work of John Dyer, who had imagined the Welsh Marches as Siluria—a culturally unique zone in which, since Roman times, British history had been rooted into the landscape [2]  — it was nevertheless, the flatter area of Suffolk that inspired his poetry. Suffolk because it was there, in a small village, that Bloomfield had spent his boyhood and there, in that same small village, that his family still lived. Bloomfield himself, however, did not: his rural poetry detailed his Suffolk youth from a distance; it was a new kind of Georgic not just because it spoke of rural work from the perspective of a labourer rather than a landowner but also because it spoke from the city. Bloomfield's were poems for the new urbanising Britain because they remembered the country from the position of a villager who had, as so many thousands did in the early nineteenth century, emigrated to London. And they did so from a world of sweated labour: Bloomfield's boyhood was an emotion recollected not in tranquillity but in the workshop; he composed verse in his head whilst labouring for hours a day as a shoemaker in an East End garret.

3.        If Bloomfield's poetry gives the lie to Wordsworth's fear (expressed in the Preface to Lyrical Ballads) that mechanical labour corrupts, by its very repetitiveness, the taste of the labourer, it nevertheless displays many of the same characteristics as Wordsworth's own verse—a matter not of mutual influence but of similar responses to times in which an industrialising culture left many people deracinated and yearning for a half-remembered place of origin—a childhood land in which the power of capital had not yet disturbed the culture or the consciousness. These similar responses included the organisation of verse according to the work-rhythms of shepherds and labourers, the penning of rural tales based on popular ballads and songs, and the addressing of poems to favourite landscapes. Not surprisingly, Bloomfield was an early supporter of Wordsworth's poetry: he had read 'Tintern Abbey' by 1802; he was, by 1807 a poet steeped in the latest developments in the loco-descriptive poetry that James Thomson and William Cowper had perfected a few generations earlier.

4.        Bloomfield took to the hills. When he climbed Box Hill, Surrey, in 1803, during a solitary walking tour, it was the first time he had been in upland country, having previously, like most of the labouring classes, been confined to the fields and the shop where he worked:

Having been harrassd by too much thinking and too many trivial engagements, and an employment that I shall never like, I determined that I would respire one mouthfull of real country air if possible and I know at the same time that pollution of smoke reaches ten miles round the Metropolis. I had heard much of Leithe Hills and of Box Hill in the neighbourhood of Dorking. . . . Remember that I am no Welshman, therefore to me these Hills are Cader Idris's and Snowdens.— (letter 106 of The Letters of Robert Bloomfield: to George Bloomfield, 17 April 1803)
The tour put Bloomfield in the position of a Romantic for the first time: a solitary walker travelling as a social, aesthetic and moral antidote to the effects of modern, urban life upon him. It led to no published writing, only to private correspondence, but it made him all the more eager to go west in 1807 when a tour of Wales was suggested by his friend Mary Lloyd Baker of Uley in Gloucestershire.

5.        Lloyd Baker, née Sharp, had written a fan-letter to Bloomfield in 1803. This led to a correspondence and to Bloomfield's warm reception in Lloyd Baker's extended family-circle of sisters, aunts and uncles, based near London and in Northamptonshire. The Sharps were radical Whig gentry (Granville Sharp, the anti-slavery and anti-cruelty campaigner, was Lloyd Baker's uncle) who neither wished to interfere in his publications nor make him recite verses in public. They had no designs upon him, though he remained conscious of their difference in class, power and education and knew that he could never reciprocate their invitations to their houses. But Bloomfield enjoyed their attention and readily made his way in August 1807 to Uley, to take the tour in the company of Lloyd Baker, her husband the local landowner, and their friends Robert Bransby Cooper and his son and daughter (relatives of the radical surgeon Astley Cooper). Together, the party then embarked on an elongated version of the already-popular tourist route: they went by road from Uley to Ross, then by boat along the Wye, alighting at Tintern.

6.        This route was already established, featuring in the prose of picturesque tours, and in numerous watercolours and engravings. Of the former, Bloomfield became familiar with work of the poet Thomas Gray, who toured the Wye and Wales in summer 1770, and whose enthusiastic notes about the scenery and antiquities were published after his death as A Catalogue of the Antiquities, Houses, Parks, Plantations, Scenes, and Situations, in England and Wales (1773). He also refers to the aesthetic discussions of William Gilpin as revealed in the seminal work of the picturesque, Observations on the River Wye and several parts of South Wales, etc. relative chiefly to Picturesque Beauty; made in the summer of the year 1770 (1782). Gilpin's book was illustrated with plates based on Gilpin's sketches, etched by his nephew William Sawrey Gilpin using the aquatint process. Sketching as they went, Bloomfield and his companions continued a fashion for sketching tours that Gilpin had helped popularise. Sir Joseph Banks had come down the river in 1771, bringing the artist Paul Sandby with him, and aquatints after Sandby's pictures circulated widely. In 1794 Sir George Beaumont, a keen amateur artist, later to be Wordsworth's friend and patron, went to Tintern with the painter Thomas Hearne. Hearne's pictures were engraved and published in his Antiquities of Great-Britain, Illustrated in Views of Monasteries, Castles, and Churches... (1786-1807). Other artists followed, recognising a growing market for topographical and historical views: by the time Bloomfield embarked, sites on the Wye such as Goodrich Castle, Tintern Abbey, and Chepstow Castle had been drawn, engraved and published many times over. [3]  To service the growing numbers of tourists, a local trade grew up: the Monmouth printer Charles Heath began to specialise in guidebooks. In rapid succession he published A Descriptive Account of Raglan Castle (1792), a Descriptive Account of Tintern Abbey (1793), an Account of the Scenery of the Wye (1795), The Excursion down the Wye (1796), and Accounts of … Monmouth (1804). Bloomfield used the Excursion down the Wye in preparing his own Wye texts and also relied upon the recently-published work of the antiquarian and traveller William Coxe, A Historical Tour in Monmouthshire (1801).

7.        It was not only in print that the Wye tourist received assistance. An infrastructure grew up to service travellers' needs, as Suzanne Matheson describes:

A water journey to Tintern Abbey was less taxing for passengers than land-travel, although not free entirely from danger or discomfort. Recreational excursions on the Wye were taking place by the 1740s, instituted by the hospitable Rev. Dr. John Egerton of Ross (later Bishop of Durham), the so-called 'father of the Wye voyage'. In 1745 Egerton 'caused a pleasure boat to be built to enable his guests to enjoy excursions by water amid scenery which could not fail to delight and surprise.' [4]  The rental and provisioning of manned boats effectively became one of the earliest organized tourist industries in the area. William Gilpin travelled in this manner during the fortnight-long 1770 tour that resulted in his influential Observations on the River Wye. Thomas Gray ranked his descent of the Wye from Ross to Chepstow as the 'very principal light, and capital feature of my journey.' [5]  By the end of the century, tourist directories advise that these boats, 'lightly constructed, which are used with or without sail, and navigated by three men' were kept in 'constant readiness' for tourists at Ross-on-Wye. [6]  In 1796 the charge for a trip from Ross-on-Wye down to Chepstow at the mouth of the Severn was three guineas, plus provisioning for the boatmen; from Ross to Monmouth the fee was one and a half guineas. . . . Until the end of the eighteenth century the boats appear to have been quite simple — 'small, but filled up with no less convenience than neatness', or 'a good covered boat, well stored with provisions' are typical descriptions. [7]  By the late 1830s, however, the vessels had become like 'a small floating parlour', made commodious with sunshades, cushioned seats, and a table. At Ross 'the Wye is a good little river, without vices or virtues', as one traveler described. [8]  After engaging a boat, tourists would descend past Goodrich Castle situated on the English or Herefordshire side. Later, in the gorge near Coldwell Rocks, it was common to halt for a climb to take in the view from Symonds Yat, while the rowers brought the boat the long way round. Afterwards, the current moving more quickly now, travelers would pass Raglan Castle, destroyed in the Civil War, and land at the substantial market town of Monmouth. . . . Roughly ten miles further down-river from Monmouth is Tintern, where the Wye is tidal and its character more capricious. Charles Heath warns in his guide that 'the Boat being obliged to descend with the Tide to Chepstow, two hours is the utmost time possible that can be allowed the company for visiting the Abbey'. [9]  . . . Between Tintern and Chepstow the river widens and quickens again in its run towards the Severn. The rich farmland of the Lancaut peninsula, with its little dreaming ruined chapel, contrasts the precipitous rocks and hanging forests at Wyndcliff. The Upper and Lower Wyndcliff viewpoints were once part of the grounds of the Piercefield estate, owned by Valentine Morris. Past Wyndcliff, the sterner limestone cliffs foreshadow the fortifications of Chepstow Castle. [10] 
Bloomfield's party followed in the wake of earlier travellers, but also added to the Wye itinerary a further land trip out of the Wye valley into mountainous Wales: Abergavenny, Crickhowell and Brecon, before returning to the Wye at Hay and proceeding to Hereford, Malvern, Cheltenham and home.

8.        But it was the boat trip along the river that initially fascinated Bloomfield and that led him into the spots celebrated by picturesque writers, not least Tintern Abbey. Bloomfield's response to the famous ruin was a little different from Gilpin's and Wordsworth's: he neither wished for a mallet to break some of the gables to make the abbey more picturesque nor averted his gaze from the beggars and ironworks that clustered around. Instead, moved too deeply to sit and sketch the arches as his companions did, he 'gave vent to my feelings by singing for their amusement and my own the 104th Psalm'. The 104th Psalm thanks the Lord for creating the earth. In the King James' version Bloomfield knew, it evokes pastoral valleys such as that in which Tintern stands:

He sendeth the springs into the valleys, which run among the hills.
They give drink to every beast of the field: the wild asses quench their thirst.
By them shall the fowls of the heaven have their habitation, which sing among the branches.
He watereth the hills from his chambers: the earth is satisfied with the fruit of thy works.
He causeth the grass to grow for the cattle, and herb for the service of man: that he may bring forth food out of the earth.
5

(Psalm 104:10-14)
Bloomfield declared of his performance 'though no "fretted vault" remains to harmonize the sound, it soothed me into that state of mind which is most to be desired'. 'Fretted vault' is a quotation from Gray's 'Elegy Written in a Country Churchyard': 'Where thro' the long-drawn aisle and fretted vault / The pealing anthem swells the note of praise' (lines 39-40). For Bloomfield, then, the pastoral valley and ruined church call forth a poetic act of worship, poetry being the mode which he feels to be profound enough to express his love of nature and its creator. This act, he knows, is over-determined: he sees the abbey and imagines his Psalm-singing in relation to Gray's portrait of the country church as a place where the act of commemoration acquires value. He is self-consciously following in Gray's verse-steps, quietly claiming poetry as a deeper, more pious, response to Tintern than the picturesque sketches that tourists were expected to make.

9.        Visiting the Wye as a labourer-poet taken-up by well-meaning patrons, and as a tourist expected to sing for his tour, Bloomfield found himself in a new and precarious position. Mostly, he enjoyed it, since, precisely because he had been tied to his trade in a way gentlemen poets never were (even poor and radical ones like Wordsworth and Coleridge), he had never before travelled west of London. Nonetheless, his new and, to him, anomalous position, a visitor rather than rather a Londoner recollecting his native Suffolk, led him to commence an innovative kind of work—a conventional tour poem (The Banks of Wye (1811)) that was to accompany a prose guide with accompanying sketches made at picturesque spots. As such, the project, like Wordsworth's Description of the Scenery of the Lakes (1811) was a new, hybrid, genre, the tour guidebook as rewritten by the poet to feature his own verse and illustrations. The effect was to represent the region as a place of aesthetic value and antiquarian interest: footnotes gave historical information about ruined castles and Roman forts. Bloomfield hoped to take advantage of his popularity as a topographical poet and of the Wye's renown as a picturesque location, building on the success of The Farmer's Boy, which featured many engravings of rural scenes, by feeding the public's ever-increasing desire for lavishly illustrated books.

10.        Bloomfield began the making of his Wye-book while still basking in the warmth of the new experience and the attention paid him by the gentlewomen of the party. His letters show him taking his new roles as artist and tour guide very seriously, seeking sketches and verse from Mary Lloyd Baker and promising her a private view of his work:

But of all this I will write more in due time. And you will here probably ask yourself, what does he mean by due time? Why I mean that when you have fulfilld your promise, and sent me your Wye Scetches to copy, and the said copying is done. I mean to have the pleasure of exhibiting to you and them my whole triple-page'd Journal, Drawings, prose, and rhime.
Since my return I have spent an evening at Fulham, very delightfully. Mr and Mrs Owen, and a Sweedish Gentleman, the Baron De Gear... The Sweed talkd of the scenery of the Baltic, Mr O talk'd of the Alps, and of the passage of mount St Gotherd &c, —and I—What could I talk about?—The Wye, to be sure! (letter 216 of The Letters of Robert Bloomfield: to Mary Lloyd Baker, 2-5 October 1807)
Once he received the sketches, Bloomfield set about recreating the tour on paper:

I have succeeded beyond the former estimate of my own self approving vanity, and the proof that I posess that latter article, is my telling you so. They are all done by Candle light! These long winter evenings are all in my favour, and you may figure to yourself the solid oak of my old Table bearing on his back half the Castles in Wales, besides my two elbows, and all the paraphernalia of drawing! Remember that though I am in general pleased with my own performances I percieve that some of my trees are amazingly like a pile of Cheshire Cheeses. And one in particular, I was hamper'd with, it seem'd to have a determination to resemble a large Oil Jar with a handle, but I cut the handle off, and, it became as good a tree as the rest, aye and as good as some that I have seen at Sadler's Wells. (letter 217 of The Letters of Robert Bloomfield: to T. J. Lloyd Baker, 18 November 1807)
Mildly flirtatious letters of this kind were Bloomfield's way of prolonging a relationship that was valuable to him: Lloyd Baker's admiration, and that of her sisters and aunt, gave him confidence without intimidating him (as the patronage of noblemen tended to do). He flourished in a feminine circle, enjoying being humorous for their benefit, unbuttoning as he could not to others outside his class, but knowing, all the same, that his value to these gentlewomen depended upon his amusing them. He was, nonetheless, careful to show the ladies' powerful husbands that he needed their help too, consulting Thomas Lloyd Baker and his friend Robert Bransby Cooper about histories of Monmouthshire in preparation of the prose section of the book. As a result, he made frequent use of Coxe's An Historical Tour in Monmouthshire, adding to both prose journal and verse tour historical notes that affiliated his work to the antiquarian texts consulted by learned gentlemen.

11.         Despite Bloomfield's diligent effort, his Wye-book never appeared in the intended tripartite prose/poetry/picture format. Back in London, away from the Lloyd Baker/Sharp circle, afflicted by financial difficulties and sinking into depression, he found work slowing-up. It was not until February 1811, after many months' practice at turning his rough sketches into finished drawings and much research into local history, that he sent the Wye-book to his publishers, Vernor and Hood, only to hear that that they were now 'averse to the costly and fashionable stile of publishing' and would produce only a smaller-scale volume with no more than four illustrations (letter 256 of The Letters of Robert Bloomfield: to Mary Lloyd Baker, 16 January-2 February 1811). Their decision may have been an early indication of the financial difficulties that would bankrupt the firm after Hood's death in 1811. At all events, it made the book they did publish in that year a far less appealing production, containing only Bloomfield's Georgic verse and a few engravings after his fellow-tourist Bransby Cooper's sketches. Nevertheless, The Banks of Wye, now more straightforwardly a poetry publication, was a substantial work, albeit not one for which the public was looking from a poet they liked for his tales of village life. Two centuries later, however, we can finally reconstitute the Wye-book that Bloomfield originally prepared, by accompanying the 1811 poem with the prose journal (transcribed from the manuscript), exhibiting the sketch- and scrap-book, restoring deleted passages of the poem from manuscript, and investigating hitherto unpublished letters.

12.        Reconstituted here, Bloomfield's Wye-book can be seen to have made a distinctive response to the tour that was, at the same time, a departure in his own oeuvre—despite its affiliation to the conventional genre of the tourist poem and guidebook. In part this was, as Tim Burke has noted, [11]  a matter of Bloomfield's sympathetic understanding of the work of the rural labourers that he now witnessed, in passing, as a leisured tourist—an understanding that subverts the unthinking aestheticisation of labour that often characterises the picturesque. The informal prose journal shows Bloomfield chatting long with a shoemaker friend in Ross; discussing the price of cider with their Welsh guide; noting that the Welsh girl who served their meal at Tintern was glad to see them go. Everywhere, he is immediately interested in the people who work the landscape, regarding them as authorities on it as important as the guide books, aesthetic treatises and county histories. His viewpoint comprehends not just the viewing stations built by local landowners such as Valentine Morris but also the cracks of the floorboards in his inn-chamber, through which he peeps at the ostlers and maids breakfasting together below. It also sees the burgeoning and smoky forges, smelters and mills that made the sylvan Wye an important industrial centre. And there is a passage of social and moral criticism of the Prince of Wales, which Bloomfield's literary executor Joseph Weston excised from the version of the journal he published in The Remains of Robert Bloomfield (1824):

The prince was at Cheltenham, and though the votaries of fashion follow him as gnats do a horse, to sting him, or to be lashd to death, I found all moralists, and all thinkers, through the whole xxxxx <town> speak of him with a shake of the head, and a humbled, and negative kind of exultation—I hope the feeling will last as long as truth and history.
Although Bloomfield was not a political writer, there are acerbic comments about the excess and hypocrisy of the wealthy in his letters and he maintained radical and reformist sympathies. These, however, are not apparent in Weston's timorous and conventional version of the journal, which was posthumously produced and had no authorial sanction (it appeared with spelling and punctuation regularised and with occasional slang and accompanying sketches and maps removed). Accordingly, it is not represented in this edition of Bloomfield's Wye texts.

13.         The journal, as the facsimiles presented here show, was never simply a verbal document. Bloomfield carefully interspersed his prose descriptions with a wealth of visual material, surrounding it on the page and facing it too, so that writing is but one element of a representation of the tour to which pictures and maps were also fundamental. In this respect Bloomfield's Wye-book offers a glimpse of the practice, common especially among gentlewomen, of compiling sketch- and scrap-books that included verse, drawings and letters, reconstituting a place, an experience or a relationship on paper. It is not, that is to say, the sketchbook of a professional artist who intended to work his on-the-spot sketches into finished oils at a later date. Rather, it is a record of the tour produced with an audience in mind – compiled to be shared after the event with his fellow tourists, to aid them in recreating the tour, and the companionship the tour offered, in memory. Even the sketches are social: Bloomfield includes his own designs, in and around his prose, with his copies of original drawings made by Robert Bransby Cooper and Mary Lloyd Baker and loaned to him after the party's return. They represent his incorporation in a gentleman- (and woman-)ly tradition of amateur art: Cooper and Lloyd Baker had received tuition in drawing—mastering perspective, composition and shading—and Bloomfield's sketches showed them that he in turn had learned from them.

14.         By including maps in his Wye-book, Bloomfield showed he was keen to anchor the sketches and the prose to places on a route. Like the published guidebooks, which began to feature maps from the 1790s, he sought to locate the views in a graduated space that, by virtue of its cartographic representation, he and others could reaccess virtually (moreover, he included in the prose journal specific timings of arrival and departure from each place visited: the tour would be relivable in memory because it was calibrated spatially and temporally on paper). He pasted in small-scale engraved county maps of Gloucestershire and Monmouthshire, but these offered little local detail. And so he made his own map, a fold-out sheet he entitled 'Sketch of the River Wye, from Ross to Chepstow'. Delineating the river in a strip-map, this marked the principal stopping point and views: it was, in effect, a new kind of sketch map aimed at serving the tourist rather than at giving an overall survey of an estate or county (it would have been of no use to a land surveyor, a landowner or an army). As such it reflected a change in mapping conventions produced by a change in the social use (and users) of maps: in that other area of tourism, the Lake District, Peter Crosthwaite began in 1783 to sell linear maps of the main lakes to tourists who wanted to follow the shorelines in search of picturesque views. The lake, like Bloomfield's river, was abstracted from the country that surrounded it, its banks becoming the object of largescale (three inches to the mile) cartographic focus. And the map now had for the first time an openly aesthetic, rather than economic, aim — to record beauty spots rather than landholdings or political boundaries.

15.         Bloomfield's map remained in manuscript, part of the tripartite Wye-book that never achieved publication. What he did publish. however, the verse Banks of Wye, defines more directly and forcefully than ever before the new purpose of touring: not the education of taste in rules of aesthetic judgement (as in Gilpin) but the mental restorative that holiday-escape into natural beauty offered an urban middle-class otherwise chained to the account-book and the office.

Wait not, (for reason's sake attend,)
Wait not in chains till times shall mend;
Till the clear voice, grown hoarse and gruff,
Cries, 'Now I'll go, I'm rich enough.'
Youth, and the prime of manhood, seize;
5
Steal ten days absence, ten days ease;
Bid ledgers from your minds depart;
Let mem'ry's treasures cheer the heart;
And when your children round you grow,
With opening charms and manly brow,
10
Talk of the Wye as some old dream,
Call it the wild, the wizard stream;
Sink in your broad arm-chair to rest,
And youth shall smile to see you bless'd.

(The Banks of Wye, book IV, lines 407-20)
Here the Wye is a consolation of age: taking a longer view than Wordsworth at Tintern, Bloomfield sees the river, recreated virtually in memory and talk, as reviving, in an otherwise sedentary figure, a younger and livelier self. It confers a blessed experience of wildness that is also a token of masculinity: the father, defined by domesticity, is cheered in himself and admired by his children because recollecting his experiences of 'the wizard stream' conjures into being the 'manly brow' of his 'prime of manhood'.

16.         Bloomfield is ambivalent about the picturesque. His Wye-book was to feature engravings after his and his friends' sketches. His prose journal records them sketching at every castle they visited. At Tintern, however, sketching was not a deep enough response and, as he concludes his verse tour, he offers only faint praise of Gilpin. Artists may learn from the Wye, he declares, but by encountering nature's forms and rhythms rather than by applying artificial criteria and apparatus:

Artists, betimes your powers employ,
And take the pilgrimage of joy;
The eye of genius may behold
A thousand beauties here untold;
Rock, that defies the winter's storm;
5
Wood, in its most imposing form,
That climbs the mountain, bows below,
Where deep th'unsullied waters flow.
Here Gilpin's eye, transported, scann'd
Views by no tricks of fancy plann'd;
10
Gray here, upon the stream reclined,
Stored with delight his ardent mind.

(The Banks of Wye, book IV, lines 421-32)

17.        Gilpin is 'transported' when he looks at nature unguided by fancy or predetermined ideas. Bloomfield's role model is, instead, the poet Gray, who absorbs delight by letting his ardent mind repose on the water, as if in meditation.

18.         How to recline upon the stream was a question for Bloomfield's own representation of the tour. His poetic endorsement of natural form led to a problem that was not resolved in the published Banks of Wye, a problem to which the tripartite Wye-book would have presented a novel solution. The problem concerns his own medium: whether nature's forms and rhythms are always so neatly harnessable within the polite diction and conventional rhyming couplets of the tour poem. Had the poem been combined with the colloquial first-person prose journal and the amateur sketches as it is here, then its obtrusion of formality upon the reader would have been seen to be only one version of the journey, in dialogue with more informal responses which, without it, might themselves have seemed too slight and private for publication. Standing alone, the published poem seemed too mixed, veering from the colloquial to the stilted, lacking the animation of The Farmer's Boy because Bloomfield did not speak for the Wye landscape as his own—known as a place marked on his body and mind by work in its fields. The original verse-manuscript, deleted passages from which are presented in this edition, shows that Bloomfield recognised this difficulty and found an original way to overcome it, for it begins more in a comic-heroic than a polite manner with a prelude about a giant called Scoop, who had fashioned the hills and dales of the Gloucestershire country in which the Lloyd Bakers lived:

When Time's young curls embower'd his brow
And infant streams began to flow,
Huge giant Scoop with spade in hand,
And all the Island at command,
With puffing breath and monstrous stride
5
Came thundering on by Severn's side.
Fancy still hears his foot rebound,
When Stinchcombe trembled at the sound.
Here Cambrian mountains caught his eye
Towring to meet the distant sky
10
Jealous he mark'd them one by one
And dreading much to be sore the work out-done
'Out-done' he cried, 'Tis true I'm warm'
But this bright prospect nerves my arm
I too the mountain pile can rear
15
Outdone, there shall be just such here.'
Then stript at once to set about it,
(Look at the spot and who can doubt it,)
But, at the moment he was speaking
His limbs were stiff, his back was aching,
20
For Mendip, and the western shore,
The marks of recent labours bore:
Weary he rested, full of pain,
By Nympsfield, on the upland plain,
And with a gnashing envious smile
25
There stuck his spade upright the while,
And chang'd his mind.—Then sprewing first,
O'er Severn's Vale a cloud of dust,
Again he pluck'd it from the ground,
The crumbling earth flew wizzing round;
30
Then dashing sternly to and fro,
He cut a casual hole or two;
In one of which (a sweet one truly)
Some modern pigmies built up Uley
And Owlpen, by the dark wood side,
35
Which none can find without a guide.
And here, the happy natives stroll
Around their green illshapen Bowl,
A Bowl all zigzagg'd round about
With one large gap to let them out.
40

(British Library Add. MS 28265 ff. 48-49)
With their deliberately clunky rhymes ('truly/Uley'), slangy diction ('wizzed' 'zigzagg'd') and undignified account of the country's origin as a giant's casual whim of imitating the hill country of Wales, these opening lines undercut their own pretensions to the heroic. They also present a compliment to Bloomfield's gentlemanly (and womanly) patrons, in which deference is pre-empted by humour. That humour is derived from local folklore: Scoop was a Gloucestershire descendant of the giant of Shropshire legend, Gwendol Wrekin ap Shenkin ap Mynyddmawr, who intended to flood the town of Shrewsbury by dumping a shovelful of earth into the river Severn. He was discouraged by a local shoemaker who told him 'It's a very long way to Shrewsbury . . . look at all these shoes I've worn out walking back from there!' The giant then dropped the spadeful of earth on the ground next to him, where it became the Wrekin hill. [12]  It was probably the comic heroism of a fellow shoemaker, and the humorous opposition of Wales and England, that made the story appeal to Bloomfield: he mentioned the giants sleeping in the Welsh mountains later in the poem. It was typical of him to assert and mock his own role as poet creator, and also typical of him to draw on local lore as well as learned books.

19.        As a beginning to a four-book landscape poem, the lines on Giant Scoop are highly unorthodox, a versification of the tongue-in-cheek humour of Bloomfield's correspondence with Lloyd Baker. They are playful, revealing the poet's enjoyment of his own ability to fictionalise, to tell it like it's not—and in this they reflect the West Country's status as a charming holiday place, an escape from Bloomfield's London cares and from his branding as a Suffolk labourer poet. Yet for all that, they do concern themselves with labour, as Bloomfield so often did: funny though they are, they show the giant working up a sweat digging. Polished, knowing and displaying a flexible deployment of Samuel Butler's Hudibrastic cocktail of octosyllabic couplets, phrasal verbs and casual diction, Bloomfield's light verses still suggest, however jokily, that the country depends on backbreaking toil—a point quietly made later in the poem when the tourists in their pleasure-boat glide effortlessly past bent-backed gleaners in the fields. Bloomfield's West Country was not a holiday-land for everyone.

20.         As different from Wordsworth's 'Tintern Abbey' as they are from Gilpin's Observations, Bloomfield's lines on Scoop reveal a cultivated, accomplished, well-read poet entertaining his patrons; they also suggest that he was worldly enough to know that the Cotswolds were not, after all, the Alps and that, therefore, describing them in pious and solemn terms would only lead to bathos. Nevertheless, getting the tone right was a vexing matter for him, and as the tour became a more and more distant memory, and the flirtatious feminine circle receded from his grasp, he worried about whether the opening was appropriate for a piece intended for public consumption. Revealingly, it was when Mary Lloyd Baker wrote to him during the course of another West Country tour she was making (of Cheddar Gorge) that, in the light of her intimate attention, he again became enthusiastic about the lines, writing in reply

[t]he Cheddar Cliffs have taken up a nook in my heart, and imagination scratches a picture of her own, like an old Hen in a garden.
I had taken a momentary dislike to Old Scoop, but you strengthen my original feeling and I begin to think that He may be a personage not altogether to be ridiculed. I have a great mind to keep him alive. (letter 245 of The Letters of Robert Bloomfield: to Mary Lloyd Baker, 31 October-1 November 1809)
In the end, The Banks of Wye, to its detriment, appeared without Scoop: the lines fell prey to Bloomfield's anxiety (evident in the more sober main body of the poem) about his qualifications to write in the style of a leisured gentleman—a position in which the trip put him for the first time. He internalised the perceived doubts of his patrons, Capel Lofft and Thomas Park, literary gentlemen who edited poetry for magazines, and consulted other friends too: it seems none of these men, arbiters of conventional taste, saw the opening as serious enough. Effectively, as another letter to Mary reveals, Bloomfield's was too playful a discourse to meet male expectations about the proper language for topographical poetry:

Since you saw or heard any part of my Journal, and I think I remember how far I had then proceeded in my amusement, much alteration has taken place in the plan and divisions &c. As I advanced I began to conceive that it might even eventualy be renderd fit for publication, and this perswasion set me about a thorough examination and revision. I concieved that it was, owing to the careless and hasty manner of its early composition, much too hudibrastic, and containd a vast deal of useless matter which might give way to the superior graces of nature, or to unbridled fancy. I had finished it, as I thought, according to this plan, last summer; and I had the joint opinion of my then companions, Inskip, himself a poet, and a man of strong mind, and my host, Mr. Weston of Shefford, Beds, and as he has read and thought more than any man I ever found in his station of life, and his age, and is an enthusiast in poetry, with a memory truly astonishing considering his multifarious reading, I consider him highly capable of detecting what were blemishes in a harum scarum story like mine,—We read it for the purpose of criticizing closely, We all doubted the propriety of Giant Scoop in the outset of the piece, yet all agreed that the ridiculous thought was not without merit, only perhaps out of place. Previous to this I had shown it to Mr Rogers, author of 'The pleasures of memory', and he, even then, in its ruder state, said that it would probably be well recieved if published, but that it was evident that I had not taken the pains with it which might be taken. I then wrote the whole out again with great emendations, in which state Mr. Lofft gave the opinion which I very barely stated to you. I took his hints and the others in conjunction, and wrote the whole out again, still in the mending way with additions and curtailments, and in this new dress, without the personage above mentioned, Scoop, I submited the piece to the calm, judicious, and candid Mr Park of Hampstead (He had seen the giant long ago and said nothing in his praise, which I know how to understand) He was decidedly of opinion that the thing would do me credit, and at the same time pencil'd his doubts and remarks. With this encouragement I once more wrote out the whole; gave the brat a name; and offer'd it to My Bookseller. I know of nothing which can now retard its ultimate appearance before the world. (letter 256 of The Letters of Robert Bloomfield: to Mary Lloyd Baker, 16 January 1811)
Being new to the tour-poem and of inferior class to his readers, Bloomfield did not dare to be facetious and mock the public's cultural expectations of such a book and of the place it described. Abandoning his hudibrastic lines, he left out the most characteristic and individual of his poetic voices, submitting to male critics rather than reproduce in public the verse inspired by his chatty, female correspondents. What was lost in this new excision from The Banks of Wye, however, was an idiosyncratic response to the West Country that remade the poetic traditions in which that region had previously been compassed and that questioned the conventional pieties of the gentlemanly tour. Without this response, and lacking the prose journal and extensive illustrations intended for the tripartite publication, The Banks of Wye was a slighter and less original book than first planned.

21.        The abandonment of the tripartite Wye-book and the excision of Old Scoop revealed that Bloomfield was unable to continue in a direction in which his writing took comic flight away from his homeground. He was not helped by those arbiters of politeness and propriety, the reviewers: 'the author's humour is generally very poor; and the language of it too coarse even for his honesty of style' declared the Eclectic Review, while the Critical Review spoke of 'bathos' and 'vulgarity' and singled-out offending phrases. In the second edition of the poem of 1813, perhaps in response to the reviewers' sniffiness about the colloquialisms, Bloomfield revised in favour of more formal, serious and socially conservative diction: thus he omitted a whimsical passage imagining a war between earth and gods:

Celestial power with earthly mix'd;
Gods by the arrow's point transfix'd!

(III, 247-48)
He also added initial capitals to 'king' and 'heaven'. Elsewhere he redrafted to clarify meaning but, in the process, made the verse more Latinate and Thomsonian, as a topographical poem was expected to be (as a youth Bloomfield had been inspired to write by reading The Seasons). Thus the lines 'When a dark thunder-storm had spread / Its terrors round the guilty head' (II, 71-72 in the 1811 text) became, in 1813, 'A summer flood's resistless pow'r / Raised the grim ruin in an hour! /
          L’ARCEP met la pression sur les opérateurs mobile Français        
L’ARCEP met la pression sur les opérateurs mobile avec sa carte interactive avec une précision de 50 mètres.   Il y à plusieurs mois l’ARCEP avait annoncée un système de cartographie beaucoup plus précis sur la couverture réseau des opérateurs
          Lecture: Mapping as a research tool        
Ceren Sezer is invited to give a lecture in Leiden University about mapping as a research tool in 14th April 2017. This lecture will be a part of a series of expert lectures organised for the PhD candidates within the course ‘Mixed Methods in the Social Sciences and the Humanities’. The lecture presents mapping as a creative visual tool, which enables researchers to read and interpret their data, field observations, and research findings. Mapping is commonly used by architects, urban designers, spatial planners and geographers, but it can also be useful for other researchers within the fields of the social sciences and the humanities. Traditionally, mapping is understood in a cartographic sense, a graphic representation of the significant features of a part of the surface of the Earth. This lecture presents that the mapping practice can go beyond a cartographic representation, and be a productive instrument to reveal what is invisible in a physical context and what opportunities this context can offer. The examples in this lecture vary from cartographic maps to the digital diagrams. The final part of the lecture is an open session in which we can discuss whether mapping can be a useful tool for the participants’ ongoing research.
          Traditional Knowledge, Data and Law / Savoir traditionnel, données et la loi        
This GeoConnections webinar discussed the results of a Social Sciences and Humanities Research Council (SSHRC) Funded Partnership Development Grant entitled Mapping the Legal and Policy Boundaries of Digital Cartography led by Dr. R. Fraser Taylor of the Geomatics and Cartographic Research Centre (GCRC), Carleton University, and Dr. Teresa Scassa of the Faculty of Law, Centre [...]
          Dimoné : interview pour l'EP Épris dans la glace        

dimoné,épris dans la glace,ep,interview,mandor

(Photos : en haut, Marc Gaillet. En dessous, Emmanuel Crombez)

dimoné, épris dans la glace, ep, interview, mandorAprès avoir été le coup de cœur de l'Académie Charles Cros pour son album Bien Hommé, Mal Femmé en 2015, Dimoné a sorti l’EP Ã‰pris dans la glace. Il porte le sceau du Québec, de ses hivers, de la neige et de la solitude des nuits glacées. Le disque a été entièrement enregistré au Studio le Nid du réalisateur Pilou situé à Saint-Adrien. Les deux se sont rencontrés lors de l’un des passages de Dimoné au Québec où sa carrière décolle peu à peu et où il va régulièrement en tournée.

Audacieux sur la forme et le fond, il est habité par sa voix inoubliable qui raconte les tumultes obsessionnels de psychés égarées entre schizophrénie et introspection.

J’ai déjà dit tout le bien que je pensais de Dimoné, déjà mandorisé au  mois de juillet 2015 (à lire ici), mais j’ai souhaité une deuxième rencontre. Ce 9 juin 2017, une heure avant son concert Je et je fondent au 104 à Paris, je n’ai évidemment pas rencontré le même artiste, puisque celui-ci est multiple. J’ai essayé d’aller encore plus loin pour tenter de comprendre qui est caché derrière ce « démon Â» de la musique française.  De là à dire que j’y suis parvenu…

Biographie officielle:

Dimoné n'est pas de ces dociles caboteurs longeant le rivage. Il préfère mettre cap au large, chercher les remous. Ce poète-cartographe sillonne d'impétueux courants intérieurs, vogue de rêves en fantasmes, essuie doutes et constats. Pour finalement jeter l'ancre en des territoires inexplorés, entre 40e rougissants et 50e urgents, là où la pudeur le dispute à la sincérité, le sacré au secret, le rageur au tendre. À rebours des chroniques du quotidien, son écriture affutée aspire à l'universel. Sa plume caresse l'homme « au plus près de l'os », cisèle le verbe avec élégance, au gré des jeux de mots et doubles sens. D'une voix pénétrante à la fois grave et soyeuse, il distille une poésie sans fard, presque charnelle, posée sur une pop mélodique portée par les guitares. Dandy démon, Dimoné grésille, irradie, bouillonne, crépite et éclabousse. Il nous invite à suivre une odyssée singulière et inspirée au creux de ses tourmentes, qu'il défie, pour mieux les vaincre, telles de délicates fortunes de mer.

Argumentaire officiel de l’EP  Epris dans la glace :dimoné, épris dans la glace, ep, interview, mandor

« Le Québec m’oxygène l’imaginaire, en plus d’aller y jouer régulièrement à toutes les périodes, comme prochainement où les frimas sont au climax, j’ai la chance d’y avoir enregistré le 5 titres « Epris dans la glace Â». Â»

Un 5 titres en guise de visa vers là où tout recommence, où tout s’abolit. Une remise à zéro Celsius des compteurs pour un disque inspiré et enregistré sous des latitudes boréales.

Une poignée de chansons aux reflets blancs qui sont autant de spectres que de silences, cheminant par les vaisseaux de notre corps sur un territoire sans traces.

Un prisme par lequel se cristallisent nos ailleurs bariolés, en de probables provenances s’ils ne sont pas présages.

dimoné,épris dans la glace,ep,interview,mandor

dimoné, épris dans la glace, ep, interview, mandorInterview :

En quelle année es-tu allé au Québec la première fois?

Il y a très longtemps, en 1991, mais c’était un voyage familial. J’aime cet endroit pour toutes sortes de raisons. J’ai perçu une sensation de ce qu’étaient les colonies. Ce n’est pas parce que je suis en France que je ne suis pas un descendant colon. Je suis un descendant de ces gens qui ont parcouru le monde et qui ont fait des colonies quelquefois.

Soyons franc, les chansons de l’EP ont été conçues ailleurs qu’au Québec.

C’est vrai, quand je suis arrivé là-bas, j’avais les chansons, certaines étaient même déjà maquettées.

Le lieu influence-t-il la façon de travailler ?

Oui. Surtout que j’ai enregistré avec Pilou. Il a une carrière musicale dans son pays (Ariane Moffat et d’autres artistes québécois). Il a non seulement un studio magnifique, chez lui, dans les bois, mais surtout une manière de composer qui privilégie le sensitif par rapport à cette satanée langue française qui est un fer de lance là-bas et qui fait partie du paysage émotionnel.

Au Québec, on parle beaucoup musique, pas seulement des textes.

Tu as raison. A la fin d’un concert, on va aussi bien me parler des paroles que d’un son de guitare. Chose qu’en France, on ne fait pas. Ici on dit : « Oui, la musique était trop forte par rapport aux paroles ! Â»

Teaser de l'EP Épris dans la glace.

Pierre Guénard, le chanteur de Radio Elvis, me disait qu’en interview, les journalistes québécois dimoné,épris dans la glace,ep,interview,mandorleur parlaient beaucoup musique, ce qui n’est peu le cas en France.

Je n’ai pas de pitch tout fait quand je parle de mes chansons. Je prends ça sous l’égide d’une conversation. Parfois, en France je dis des choses absconses, je me la raconte poète, chanteur… Au Québec, ils s’en branlent. Ils veulent savoir comment je fabrique mes chansons et que j’explique ma musique. J’ai l’impression que les québécois me disent : « me la raconte pas, on t’as vu arriver ! Â» (rires)

Tu aimes beaucoup le Québec ?

J’adore.

Tu t’exilerais bien là-bas ?

Non, je suis un mec de soleil.

Que pensent-ils de toi au Québec ?

Je ne sais, je suis juste repéré comme un renard argenté, mais pas comme le loup blanc.

Pourquoi simplement un EP ? Tu ne nous as pas habitués à ça.

C’est sûr qu’habituellement un mec de ma génération ne sort pas un EP. Cela est réservé aux primo-arrivants. Justement, au Québec, je me suis senti un primo-arrivant. Il y avait aussi une histoire de rapidité. Je n’avais pas encore assez de chansons pour faire un album.

"La grande allée", extrait de l'EP Épris dans la glace.

dimoné,épris dans la glace,ep,interview,mandorComment l’EP a-t-il été accueilli au Québec ?

D’abord, il y a eu la pochette. Certains l’ont trouvé trop caricaturale. Ils ont eu peur que ce soit trop folklorique. En m’interviewant, une journaliste est rentrée par cet angle-là. J’ai senti qu’elle se disait : « qu’est-ce qu’il va nous faire ce français-là. Il va se mettre à cheval sur un caribou tenu en laisse avec la carte du Québec en guise de selle… Il nous prend pour qui ? Â»

Et au niveau de ce que tu racontes dans tes chansons ?

On m’a affilié à une certaine poésie. Pas vraiment surréaliste, mais quelque chose de plus sensorielle que descriptive. A la française, quoi ! Je me suis senti perçu dans quelques regards et réflexions, ça m’a flatté.

Tu as fait une tournée québécoise cet hiver. Comment cela s’est passé ?

Sans se la raconter, on a eu plein de fois des standings ovation. Je me suis demandé si c’était dans les habitudes des québécois de se lever pour applaudir lors de la dernière chanson avant de rentrer chez eux  ou si c’était parce qu’ils appréciaient. J’ai trouvé ce public plus participatif. J’ai trouvé que le québécois avait beaucoup de pudeur mélangé à du pragmatisme et du mysticisme. C’est d’une richesse folle pour nous, artistes français.

Clip de "Indigo", extrait de l'EP "Épris dans la glace".

Tu as eu l’impression de repartir à zéro ?dimoné,épris dans la glace,ep,interview,mandor

Je suis allé là-bas comme un piège. Prudemment. Encore une fois, au Québec, on parle français, mais c’est tout. Je suis venu comme un étranger qui a envie que la rencontre se fasse.

Tu aimes te renouveler régulièrement… en participant à un groupe comme Bancal Chéri par exemple.

Je ne cherche pas à être découvert. Je ne vais pas te faire une fausse coquetterie, mais j’ai 50 ans. On ne va pas découvrir un vieux quand même ! Si je ne prends pas les choses à rebrousse-poil ou avec mes potes Nicolas Jules, Imbert Imbert et Roland Bourbon de  Bancal Chéri, je n’existe pas.

Dans la profession, on est tous d’accord pour dire que Dimoné est le haut du panier.

Ça me fait plaisir si c’est le cas, mais ce n’est pas quelque chose qui berce mes soirées.

Je crois savoir que tu vas faire évoluer Dimoné…

Il y a des choses qui vont changer. Le chiffre rond de 50 ans m’appelle, m’interpelle. J’ai déjà initié la suite, mais il est trop tôt pour que je t’en parle.

Bref, tu vas jouer en groupe.

Voilà, avec des garçons de tempéraments.

Déjà avec Jean-Christophe Sirven, c’est hyper rock.

Oui et j’ai pris beaucoup de plaisir à jouer avec lui. Ça va me faire drôle de ne pas l’avoir à mes côtés. Je sais qu’avec le changement que je vais proposer, le regard et l’intérêt sur moi ne serons pas les mêmes.

Tu vas abandonner ton ancien répertoire ?

Pas du tout, il y aura aussi des nouvelles chansons, mais on accueillera des anciennes dans le set.

dimoné, épris dans la glace, ep, interview, mandor

Pendant l'interview... 

Tu as tout fait dans ce métier avant d’accéder au statut de chanteur.

Je suis intermittent du spectacle depuis très longtemps, à différents postes en effet. J’ai fait les éclairages d’une troupe de théâtre, mis des micros à Annie Fratellini, fait de la régie plateau, monté des gradins, monté des scènes pour des artistes dont je n’appréciais pas vraiment le travail. J’ai réussi à dissocier les artistes de l’humain. Je sais ce que c’est de monter une scène et, d’un coup, accéder à l’allégorie pour y monter. Il a fallu que j’identifie le périmètre pour y accéder sans que plus rien n’ait de secret pour moi. Ça m’a préservé du danger.

Le danger de se prendre au sérieux ?

C’est exactement ça.

Si on fait le bilan de ta vie professionnelle, tout va bien ?

Je suis très heureux de la manière dont elle est menée parce que je fais ce que j’aime. C’est important. J’ai eu des moments plus nécessiteux dans mon existence. Artistiquement, je suis en accord avec ce que je produis et ce que je désire. La part de rêverie que je m’autorise à avoir, je l’ai cimenté. Et puis, je suis bien entouré.

dimoné, épris dans la glace, ep, interview, mandor

Après l'interview le 9 juin 2017 au 104.

dimoné,épris dans la glace,ep,interview,mandor


          NASA Cartographer Helpfully Shows Where to Find 'Sunsquatch' During the Solar Eclipse        

For the past couple weeks, government agencies have been warning citizens about potential traffic issues and the need for protective eyewear during the upcoming solar eclipse. But what if you want to be able to enjoy this rare phenomenon without being bothered by a Sasquatch? Or what if you’d like to hang with Bigfoot…

Read more...


          Vacances Vues du Ciel passe sur Google Maps        
Changement de technologie de cartographie : le site Vacances Vues du Ciel abandonne sa technologie propriétaire (Neoglobe) et utilise à présent Google Maps. C’est un choix stratégique majeur pour notre jeune société qui a finalement été fait pour plusieurs raisons : –          La qualité du contenu (vue aérienne, streetview, …) s’est considérablement améliorée et continue de le […]
          Solutions de cartographie, les modèles économiques se précisent        
Arnaud Gstach le responsable commercial Europe du sud de Microsoft Virtual earth a révélé pas mal de points sur le modèle économique de sa solution de cartographie lors de sa conférence donnée à Paris la semaine il y a 2 semaines. Ici pour vous quelques précisions sans dévoiler les quelques parties encore sous le sceau du […]
          Cartographie + statistiques = Worldmapper        

(Article original : Cartographie + statistiques = Worldmapper sur Pourquoi Comment Combien )

Worldmapper.org fournit plus de 360 cartes du “monde comme vous ne l’avez jamais vu” telles que celle-ci par exemple: Ces cartes représentent des valeurs statistiques sur les pays en modifiant proportionnellement la surface des territoires concernés. Sur celle-ci dessus, c’est la proportion du PIB dévolu au service de la dette publique en 2002 qui est […]

(le TEXTE de cet article est publié sous licence Creative Commons CC-BY-NC-SA 3.0 Suisse par Dr. Goulu. Les images et illustrations ne sont PAS couvertes par cette licence et peuvent être soumises à Copyright.)


          U.S. Census 2010 Geographic Products and Information        

Resource for geographic and cartographic products related to the release of the 2010 Census. Products include but are not limited to total population and population change maps, gazetteer files with information being updated as it becomes available.

 


          Literary Festival 2013: Branching Out: mapping human imagination, exploration and innovation [Video]        
Speaker(s): Professor Jerry Brotton, Mike Parker | Editor's note: Unfortunately the last few minutes of the lecture are missing from the recording. Throughout history maps have been fundamental in shaping our view of the world and our place in it. Our panel will discuss how maps both influence and reflect contemporary events and how, by reading them, we can better understand the worlds that produced them. Jerry Brotton is professor of renaissance studies at Queen Mary University of London, and a leading expert in the history of maps and Renaissance cartography. His last book, The Sale of the Late King's Goods: Charles I and his Art Collection (2006), was short-listed for the Samuel Johnson Prize as well as the Hessell-Tiltman History Prize. In 2010, he was the presenter of the BBC4 series Maps: Power, Plunder and Possession. His latest book is A History of the World in Twelve Maps. Mike Parker is the author of the best-selling Map Addict and writer and presenter of BBC Radio 4’s On the Map. He is currently working on a book, The Story of Britain in Road Maps, to be published in autumn 2013. This event forms part of LSE's 5th Space for Thought Literary Festival, taking place from Tuesday 26 February - Saturday 2 March 2013, with the theme 'Branching Out'.
          Go From A to B to A        

Aerial mapping tour of section of Grand Union Canal and under the Westway, London.

Cast: Pat Naldi

Tags: Aerial, tour mapping, directions, maps, digital, art, cartography, tour and routes


          Alyssa Faden Talks Torn Armor: Squad Based Minis Boardgaming        
Torn Armor is a fantasy skirmish miniature game based on the rich lore of "Torn." It features anthropomorphic creatures such as cat, mouse, monkey, and rhino-headed creatures in their desperate defense of their homeland against the Spartan-like "Sisk" invaders. Each side is beautifully brought to life through 39 expertly crafted miniatures, ranging from the 20mm "Mu" (mice-men), through to the lumbering war golems that tower a spectacular 60mm on the game board. Alyssa Faden had the good fortune to be born in England and therefore did all of the usual geeky things - live roleplay, Dungeons & Dragons, drawing fantasy places - while in the middle of real-world castles and ancient barrow mounds. Not many are honored to have grown up in a city established by the Romans, with intact Roman walls and a Colosseum, but Alyssa was and she fully embraced it in every respect. Is it any wonder that she was the first to be playing Dungeons & Dragons in her school? With a lust for the unknown and the magical country of "America," she emigrated in 1998 and has been spreading 'home country historical goodness' via the mediums of cartography and table-top games ever-since. Alyssa has recently worked for Paizo, Gygax Magazine, Kobold Quarterly, Silver Gryphon Games, R.Scott Taylor, and Jon Brazer Enterprises.    
          suhm-er-tahym         









Hello Darlings . . . Summer is in full swing.  June’s roses have faded, and July’s wild, sunflowers are now in full bloom. When the heat is on, I love staying cool in this UO Ecote off the shoulder romper.  It’s just . . . well . . . downright sexy.  
One thing in life you can count on. . . things change. Sometimes, I struggle with this reality. Oh, how we long to hold onto what is beautiful; we want to keep forever, the people and things that we love.  But, change is inevitable.  Nature is the biggest example of this.  Our time is precious. Fleelting and emphermal. Seasons come and go.  All things come and go.  I’m not sure what the next few months will have in store for me.  I feel like the Universe is asking me to step up. rise to a new day. set sail. jump ship. stop acting small or out of fear.  My mantra today is, “hang on, it gets easier, and then it gets okay, and then it feels like freedom.” 

The Summer Day

Who made the world?
Who made the swan, and the black bear?
Who made the grasshopper?
This grasshopper, I mean-
the one who has flung herself out of the grass,
the one who is eating sugar out of my hand,
who is moving her jaws back and forth instead of up and down-
who is gazing around with her enormous and complicated eyes.
Now she lifts her pale forearms and thoroughly washes her face.
Now she snaps her wings open, and floats away.
I don't know exactly what a prayer is.
I do know how to pay attention, how to fall down
into the grass, how to kneel down in the grass,
how to be idle and blessed, how to stroll through the fields,
which is what I have been doing all day.
Tell me, what else should I have done?
Doesn't everything die at last, and too soon?
Tell me, what is it you plan to do
with your one wild and precious life?
—Mary Oliver
Peace, Love, & Good Chocolate
PARIS 

Don't forget, follow me on instagram@CharcoalAlley
Random got beautiful found photos: via. tumblr 


          Critical Readings in Political Economy: 1967        

Guy Laron, The Six-Day War (Yale University Press, 2017).

Amidst the forest-felling libraries of literature on the question of Palestine, Israel’s 1967 war of aggression is perhaps responsible for the largest clear-cuts. So much is manufactured. Yet so little is useful or new. Part of the problem is the massive industry – literally – whose product is perpetual dispute over the most basic facts. Colonial expansion generates resistance. Both processes require intellectual support. For that reason, ideological and political battles occur on epistemological and methodological planes.

At least one consequence of the revisionist denial of Palestinian dispossession is that nationalist accounts predominate even in the critical literature. Amidst this historiographical morass, Guy Laron’s The Six-Day War sets itself most sharply against accounts fixating on the supposedly bumbling run-up to the war. The book’s novelty is to discuss the material conditions – local, regional, and global – in the run-up to the war. It sets a wider and longer historical compass than most histories of the war, tracing trends from the post-World War II period until the war itself. He gives pride of place to several structural-institutional factors. One, the tension between civilians and generals. And two, the global condition within which that tension heightened: balance of payments crises in Syria, Egypt, and Israel.

Laron argues that Egypt and Israel – as part of a global dirigisme moment – attempted industrialization using import-substitution (ISI) or export-oriented (EOI) models. Foreign aid supported these processes. But in Egypt, the United States saw its “aid” failing to bridle Egyptian radical nationalism. Meanwhile the Soviet Union too moved to trade over aid. Both states armored allies or clients. Amidst domestic unrest or unease “civilian supervision over the military in contiguous countries weakens. As a result, the regional situation becomes enflamed and ignitable….The victory of hawkish generals in one country strengthens the hand of hawkish generals in other countries.” Instability builds, and breeds instability. War results.

Laron’s model goes as follows: developmentalist policies’ failure leads to the instability of civilian rule. That leads to a breakdown of democratic procedures, and the empowerment of actors who might move to war to avoid dealing with such instability on the internal plane. As method, his exercise melds international relations with a form of political economy analysis. He gives due attention to internal factors of social stress, business interests and their concerns with wage compression, and peoples’ demand for development.

Bringing these regional countries onto a global plane of analysis is a welcome correction to dizzyingly myopic literature fixated on this or that armistice line skirmish in late May 1967. And tracing internal class division within the dominant Israeli Jewish sector and its role in the move towards further war and colonization is an important if partial corrective to court histories of Israeli defensive war. But how far from palace accounts does Laron go?

In what follows I offer a three-part review of the book. The first focuses on his account of Israel; the second, the Arab states; and the third, moves to questions of concept formation and mechanisms of social change, particularly war.

Israel

Laron’s builds his account of Israel around a sharp tension between a civilian leadership wary of further war under Levi Eshkol, and a military leadership rearing for further war and territorial acquisitions. The military perpetually sent in tractors to work on land in the northern demilitarized zones. This was a deliberate provocation. They justified it by insisting that it was “Jewish land.” They knew Syria would eventually respond by firing on the encroaching tractors, or by shelling.

Domestically, the GDP was growing massively – ten percent a year. Meanwhile, the Histadrut, a corporatist-colonial labor institution charged with wage containment, was beginning to fail at its task. Unemployment was too low, wildcat strikes were too high. Jewish labor was beginning to gain too strong a position within the corporatist balancing act. Thus, the government “inflicted” a recession. The consequence was further labor unrest, especially among Jews from North Africa and the Middle East. Here the facts drape oddly over Laron’s model. First, there was no ineluctable progress from balance of payments crisis to any particular policy outcome. As he notes, in 1964, reserves were at 500 million US dollars and “Israel could have settled at least some of its debts.” In fact, it is difficult to see why he characterizes this as a balance of payments crisis in the same sense as occurred in Egypt, as we will see. Israel chose to impose a recession on the lower class of the dominant Israeli Jewish sector in part to discipline labor and prevent what Michel Kalecki called the “political consequences of full employment.” Wages in general decreased by .4 percent, but in some sectors they increased massively. The government did not inflict the recession evenly.

A consequence of this imposed recession was further unrest and the government’s resulting unpopularity. Still, budgetary allotments to the military continued to grow as a percentage of Gross Domestic Product, structurally empowering the military. And the industrial lobby was increasingly uneasy with Eshkol’s policies. Textile magnates and other actors in the private sector saw an opportunity to displace the Mapai government. They made an alliance with the military. By late May, Yediot Aharonot was attacking the government for “capitulating to aggression” from the Arab frontline states. Other papers called for war cabinets.

Now, one oddity is that Laron assimilates the end of German “reparations” (which he does not explicitly discuss) to the broader breakdown in aid to Egypt, as doppelganger socio-historical mechanisms moving the societies to greater military control. But Israel received reparations at least in part because it was woven into the social and political fabric of Western capitalism. Israel also has played a unique role in the symbolic de-Nazification of Germany – and its decision to whitewash rather than reckon with its past. Capital flows for political and historically specific reasons. Would such funds have gone, for example, to the regional Jewish populations had they stayed at home, or the populations which did stay at home? Did any other regional country receive such gushers of aid?

Another fairly large gap is the underexplored tension between structural moves towards greater power of the military within Israel and an excessive focus on institutional analysis of the relative power of the civilian versus military sectors. Eshkol, Ben Gurion, and Dayan were different figures. But they differed within hard financial parameters as well as secular tendencies within the relative distribution of government spending. In the first place, Eshkol supported the armouring of Israel, increasing the military budget as a portion of GDP, especially the air force. In the second place, he green-lit numerous aggressions against the Arab states. In 1967, “Eshkol told Rabin that he wanted to make Syrians pay, but he felt like doing something new, something creative.”

Laron’s focus on process-tracing is important. His emphasis on civilian-military dissensus is less convincing. The ideology of expansion, an expression of a very material desire for land, was the calling card of colonialism. To take land requires force, and Israel’s constitution and concentration of social resources in armaments was a secular tendency. Ideology and colonial state-formation provide the parameters within which political actors act. Laron’s model seems to place undue emphasis on the move from civilian to military decision-making as a qualitative shift which led to war. But his evidence shows clearly enough that Eshkol was moving towards ever-more-belligerent actions over the course of 1967 in any event, often explicitly endorsing further aggressions. The role of the military in pushing for the 1967 war is clear. Laron seems to place undue weight on this institutional mechanism for further aggression. Historians bear the task of avoiding the Scylla of teleology and the Charybdis of providence. Still, if there is a counterfactual, it would ask this. Given the clear tendencies in state budgetary disbursements and the in-built mechanism for Israel to soothe internal social tension through war, would it have been possible for Israel to have ceased further aggressions against abutting states and stayed within the 1967 armistice lines? Whether such a counterfactual would have been possible is impossible to say. But the likelihood of this possibility is less than dim.

The Six-Day War and the Arab States

Laron’s account of the Arab states involved in the six-day war is actually an account of Syria and Egypt. He largely brackets Jordan, and leaves Iraq to the side. According to Laron, Egyptian industrialization rested on the unstable foundation of foreign aid flows from the United States and the USSR. When such flows slowed amidst the transition from John F. Kennedy’s carrot approach to Lyndon Johnson’s fuite en avant, the power of the Egyptian civilian establishment under Nasser decreased relative to that of the military. The former oriented more to building strength through developmental policies. The latter oriented more towards a frontal confrontation with the Israeli threat.

In Syria, anti-Nasserist civilians lost power to more redistributionist and left-Ba’thist generals amidst civilian discontent with Nasser’s roll-back of the land reforms and nationalizations of the United Arab Republic. Laron traces the battles between, on the one hand, the Ba’th leadership and its lower-level cadre agitating for more widespread social redistribution, and on the other, the ancien regime – conservative landholders, their accomplices among the ulema, and the petty bourgeoisie. Such social tensions, essentially about class, ripped through Syria throughout the 1960s as some forces fought for forceful redistribution of power and others pushed for the status quo ante.

Laron’s model does not quite equate the Egyptian and Syrian situations, but like any model, there is a tendency towards reduction and a search for similarity. He claims that “balance of payments crises…strengthened generals and humbled civilians.” He creates an ideal-typical model and tension: between civilians tacking towards less belligerence and generals tacking towards more. Post-1973 Syria basically falsifies this model. More to the point, behind a notion of “civilian” versus “military” rule is an implied value judgment that civilian institutions somehow express the will of a “robust civil society” whereas “civil society tends to be weaker in post-colonial countries, which accept the rule of the gun indifferently.” But the 1961-1963 “democracy” in Syria was the fruit of a right-wing coup d’état, which represented the “land and factory-owning families… [and] religious movements such as the Muslim Brotherhood.” In turn, a “democratically” elected Maruf al-Dawalibi pushed through massively unpopular regressive social measures, creating social instability which led to a “soft” coup: “so unpopular was the regime that there was no resistance.”

Laron’s notion of civil society in post-colonial states and his model of military-civilian tensions does not offer clarity in understanding this period of Syrian history. It is more accurate to state that some Syrians accepted “the rule of the gun” – really, a gun aimed a certain way – because of anticipated developmentalist policy. Other Syrians, including some in civil society, called for the guns to aim at their enemies precisely in the service of a different vision of Syria. The divide was along lines of class. The very brief currency crisis was more than anything a symptom of a class conflict interlocked with a question concerning Arab states’ orientation to Israel. Furthermore, the suggestion of Arab indifferent acceptance of an essentialized “rule of the gun” is also more than a little discomfiting, a discomfort magnified when one reads both false and frankly sectarian formulations such as Laron’s diagnosis of post-2011 Syria as having “recently disintegrated into its various ethnic, religious, and geographical components.”

More to the point, the model sets up each case as instances of a global moment. But the character of that global moment is underspecified. Laron’s country-size analytical units are sufficiently porous to permit – partially – global developmentalism to exist as a systemic phenomenon, manifesting differently in each state. But Laron deals with anti-colonialism on the country-level, and as an issue concerning politicians and generals. This framing overlooks the broad ranging and mass based support for Palestine and decolonization more broadly. This sentiment was rooted in a shared experience – that of millions of people watching the loss of Palestine to largely European colonists. That experience also crystallized in organizational form: for example in the Arab Nationalist Movement, flowing freely over borders and seas. Human experience, the sentiment it produced, and the organizations which emerged to turn sentiment into action were the material basis for anti-colonialism and support for Palestine to become what Laron minimizes as a local “cog” in the Arab cold war.

Furthermore, support for such struggles, especially in the Arab world at that time had human avatars – leadership – which might be beyond any specific border. Thus, Nasser was more popular in Jordan in the 1960s than was the monarch. This is the inescapable background against which both the Syrian and Egyptian states outbid one another as they aimed to lead the Arab world.

Laron’s point about how Nasser escalated as a response to Syrian escalations speaks to how anti-Israel or anti-Zionist sentiment was not merely a factor of legitimation but an index of democracy in the regional state system. Moving to armed confrontation with Israel and support for the Palestinian cause was a response to popular will and demand. This explains the Jordanian state’s reluctant participation and the Iraqi state’s willing participation in the war. Governments which confronted Israel were more popular than those that did not. Ostensibly value-free models which reduce democracy to institutional structures expose a liberal bias, eliding democracy in the substantive sense of popular rule. Addressing these factors would have accounted for the inclusion of Iraq in the war, as well as addressing state formation, the social bases of the state, and popular social incorporation.

Also, Laron frames the global moment vis-à-vis national developmentalism and its relationship to capital flows in a limited way. Broadening the historical analysis provides a deeper explanation of aid distribution. Egypt, for example, received aid as geopolitical rent, in order to usher the national project under the aegis of US anti-Communist foreign policy. The Kennedy administration used aid to support non-Communist developmentalism and forestall Communist governments coming to power. It is true the United States “acquiescence[d]” to Nasserism, as Laron terms it, after 1958. It is also true that the United States viewed Nasserism as preferable to the Communist threat then flourishing in Iraq. The United States played a role in exterminating that threat in 1963. Acquiescence emerged contrapuntally amidst a globally oriented US foreign policy. The United States allowed developmentalism only when it was forced to do so. In Syria, on the other hand, there was a brief currency crisis due to capital flight and an outflow of professionals. Austerity, to the extent it took place, was a reaction to the middle- and upper-classes starving the Syrian government of developmental resources. This looks nothing like what occurred at that time in Israel. Laron’s ideal types fail to historicize and specify such capital flows.

The regional framework, as limited as it is, also fails to attend to broader global trends. The US sent immense rents to South Korea and Taiwan during this time. The acuteness of the threat of neighbouring Communist China, and its radical agrarian reforms, enabled post-war developmentalism in East Asia. Syria and Egypt had no neighbouring China to induce the United States to support ISI or EOI and to prevent a harder-left turn. Post-1967 geopolitical rent to each state, which helped their balance of payments and underpinned Syrian ISI, rested on regional states like Saudi Arabia’s multifaceted need to confront -- and yet contain their confrontation of -- Israel. Laron’s model building leads him to lean analytically on ostensibly similar balance of payments crises. But this approach overlooks historical processes and difference. Meanwhile, a comparative approach with sees bleached units such as “capital flows,” states, within them, undifferentiated “civilian” and military classes, reifies rather than historicizes these dynamic concepts.

War

How does the role of war – as mechanism, as event, as process, as catalyst – appear in Laron’s account? Again here, Laron privileges singularity over historical specificity. There are very different kinds of wars and social formations resort to kinetic warfare to achieve socio-political aims in widely divergent ways.

Laron offers a critical account of Israeli motivations, especially those of the generals, for entering the 1967 conflict, and for causing the political friction that predated it. He traces two essential and interlinked logics. One is territorial aggrandizement. Two is the internal constitution of the surrounding states. Rabin “told his generals on April 24 that Israel should continue confronting Syria until the Baath’s fall from power,” Laron notes. In Tehran on April 1967, Rabin stated, “it is in our mutual interest to deal with [Iraq, Syria, and Egypt]. We should contain Nasser in the southern Arab peninsula, neutralize the Iraqis and screw the Syrians.” For Israel, war was a means – a successful one – to prevent neighbouring or nearby nations from neutralizing Israeli freedom of action. For Israel, taking land and preventing development were two sides of one coin.

This imperative was linked to the question of Palestine. When Syria proposed a ceasefire in the demilitarized zone in the summer of 1966, Rabin was irked. He felt there should be no ceasefire while the Syrian government gave safe haven to Palestinian guerrillas. Thus, from Israel’s perspective, its neighbours’ attitudes towards Palestinian anti-colonialism and anti-colonialism more broadly determined its orientation towards those states. “Internal” pressures also weighed on Israeli war-making. The generals’ perspective was embedded in the offensive-defense ethos of mainline Zionism. Arms were crucial to building an “offensive army that was capable of expanding Israel’s borders.” A devil’s brew – territorial aggrandizement, militarism, the imperative of suppressing an anti-colonial struggle on its Palestinian and broader Arab planes –produced war.

Laron is critical of the post-1967 Israeli expansion. So he is harshly critical of the elements and tendencies within Israel society which he considers to have produced that expansion. But his hesitance in describing pre-1967 Israel as colonial leads to him to avoid any focus on the colonial nature of Israel’s interaction with the Palestinians, and a framing which would cast Israel as a source of regional instability. For example, he writes of Fateh’s guerrilla raids over Israeli armistice lines as a catalyst for the 1967 war. He also describes Syria in the 1960s as akin to Serbia in 1914 – “a terrorist haven that was a source of regional instability, and which provided the spark that ignited the crisis.” One cannot accept calling the exiled Fateh fighters “terrorists.” Indeed, one might equally present the 1967 war as a moment in a protracted and regionally implicated national struggle over the land. There can be no value-free answer to whether Palestinians had and have the right to pursue that “most essential value,” in Frantz Fanon’s words: the land. Moreover, when Laron speaks of the “dovish worldview” of Eshkol, this is a value judgment legitimating the 1948 war of colonial conquest – or that moment of primitive accumulation. It is also simply odd given the number of offensive military actions Eshkol explicitly endorsed. Placing the positions of Eshkol and the generals further rather than closer is a moment of value-laden interpretation within social science. A focus on tensions between them incants 1967 as an inflection point. A focus on tension amidst shared values might have created 1948 – or 1882 – as an inflection point.

Different inflection points are also the fruit of different analytical paradigms. If we interpret the 1967 war within a settler-colonial framework several crucial elements become clearer. First, the Israeli resort to external aggression, or colonial expansion, was to some extent a move to allay internal social contradictions. Settler-states such as the United States and Israel export their internal contradictions onto indigenous populations. Such a dynamic was distinct from the Arab move to confrontation. Some of the Arab states did implement this strategy, in part, to contain and divert internal social contradiction concerning class. But such a strategy, whatever the complex of motivations within the state institutions, also expressed a clash of interests between the colonizing and colonized peoples.

Because Laron does not really consider the question of colonialism, the matter of anti-colonialism’s social content is absent from this account. Can one evaluate from a value-free position the question of Palestine from 1948-1967, or offer an objective perspective on Palestinian anti-colonial claims? Can, or should, one offer a neutral account of pre- and post-1967 Arab developmental trajectories? Here the gap in scientific formulation is not merely Laron’s; it is a gap in most Western social science writ large. The colonial question is two questions. The first is a national question of land. A second is, in the words of Amilcar Cabral, “to free the process of development of the national productive forces.” The colonial question is, then, one about people’s control over national productive forces. Furthermore, Israeli elites understood the war as a mechanism for hammering Arab developmentalism. In the words of Harman, the Israeli ambassador to the United States, “Syria was becoming a Middle Eastern Cuba.” The Israeli attack was a factor forestalling such an outcome.

These questions allow for an understanding of Palestinian anti-colonialism and the broader Arab sentiments that give it strategic depth. They also allow us to question the implicit equation Laron creates between the warfare of colonial and anti-colonial states. Laron’s tableau equates these social dynamics through the mechanism of civilian-military conflicts with the latter base of institutional power opting for war. This is problematic even on its own terms. As he shows clearly, the 1967 war required manufacturing consent in the Israeli Jewish sector. Confronting Israel did not require any kindred manufacture of consent in Syria, Iraq, Egypt, or Jordan, where such policies were massively popular. Social science must recognize the difference between war as an elite versus a popular project, which also means understanding how popular sentiment hardens in the form of specific state institutions and takes form through specific state policies. Assessing whether or not such states were cynical in so doing allows for a deeper understanding of the moment. It does not invert the judgment.

But on a deeper level, equation of the Arab republics with Israel erases what makes Israel distinct: its colonial character, that is, its relationship to a dispossessed, occupied, and exiled Palestinian people. The model that sees states interacting with internal classes as the sole drivers of regional social development and de-development effectively erases the Palestinians from Laron’s history of the 1967 war.

Finally, there is the US role. Laron is clear: the US green-lit the war. This is an important contribution, and one which most reviewers have understandably underplayed. But the aggregate evidence is irrefutable. A common and correct explanation is that a violent defeat of the Arab armies would deal a blow to the national-developmentalist Arab projects – a projection borne out by the Corrective Movement in Syria and Sadat’s infitah. Even more to the point, the Arab project suffered a blow hard enough to leave it comatose or quiescent for some decades, a consequence Laron does not delve into in any depth. In a moment in which a great deal of critical historiography on Palestine is increasingly shearing off the question of Israel from questions of imperialism, this book puts the centrality of the US-Israel Special Relationship and its role in regional dynamics from 1967 onwards at the center of materialist interpretations of Palestine’s present and past. It is perhaps there that it makes its signal contribution.

Conclusion

But it is also a flawed contribution. It has received praise, I think, for responding to an intellectual demand for political economy frames of analysis. But such frameworks have never been politically innocent. If they are historical materialist – Marxist – they write from a certain perspective and offer a map of the social world. No map is innocent. A given cartography implies or suggests political movement.

Laron’s account successfully analyzes the internal social stresses and stressors in Israel, Egypt, Syria, and Jordan, and the global aspects of aid flows. He is less successful in understanding national developmentalism as a world-systemic process, the United States’ opposition to it as a global phenomenon, and the role of colonialism in both. Colonialism writ large was a process of constrained and distorted development on a global scale. Settler colonialism largely has meant dedevelopment, often to socially fatal levels. Decolonization sought to eliminate the mechanisms which produced such distortions – lack of tariff walls, colonial currency systems, and dispossessed populations lacking land and livelihoods and so unable to participate in demand-led development. The US opposition to the removal of such mechanisms has meant that it has almost without fail supported elements within post-colonial countries seeking less redistribution versus those seeking more. Within that project, on the regional scale Israel has played a key role. It has diverted regional resources for human development to preparation for warfare. It has also inflicted serial military defeats on the Arab states. Those defeats have empowered social layers oriented towards national unity in the face of Israel, rather than, as with Yusuf Zuayn and Salah Jadid in Syria, those urging more radical redistribution as a means to the same end. If decolonization is about the restoration of both economic and political sovereignty, Israel has been a tool not merely to prevent Palestinian political sovereignty, but furthermore to ensure that social layers seeking a fuller economic sovereignty were not able, for the most part, to acquire power in regional states (Iraq is an exception, and for that reason had to be destroyed).

Laron’s flaws are symptomatic of broader trends in the political economy turn in contemporary social science. First, there is an urge to engage with Marxist literature without identifying explicitly with the Marxist tradition and its political commitments. Second, there is a Eurocentric bias which continues to dominate even the Marxist tradition, sidestepping the constitutive role of primitive accumulation in the past and ongoing kinetic violence in contemporary accumulation. Imperialism as a concept is out of favor – or worse, a slur. Correspondingly, cases are dealt with as independent, rather than constituting a world in which the core-periphery divide remains crucial for the present and future of social formations.

Such turns have an uneasy relationship with 1967 as an inflection point in Israeli-Palestinian relationships. For from a certain perspective, little was novel about 1967. It was part of a long history of Zionist colonization. Imposing it as a massive gravitational force may rip apart the historical continuities that give 1967 another meaning entirely.

As Sherene Seikaly points out,

The historian’s task, then, is to decolonize Palestinian and Arab periodization… Perhaps, for example, we can begin the history of the fedayeen not in the 1960s, but the 1950s, the 1930s or indeed the nineteenth century. Perhaps, for another example, we can think again and anew about the central question of land in Palestine, and its inextricability from histories of global and regional capital, whether in the bantustans of the contemporary West Bank or the coastal strip and interior hinterlands of nineteenth-century Palestine.

An intriguing part of the recent settler-colonial turn in Palestine scholarship has been an engagement with the US indigenous question. Perhaps less examined has been the relationship between that question and 1492, and 1882. The first was the moment when colonialism as a world-historic process began to extend European sovereignty forcefully outwards over both the southern and eastern Mediterranean littorals and across the Atlantic. The second was when Zionist colonists started modern settler-state formation in Palestine. That project and its further ramifications have been one aspect of the broader and longer colonial process – tying 1882 to 1492. Another aspect of modern settler-colonialism has been the enfoldment of Israeli state-formation into British, then French, then US imperialism. All of these relationships and processes also find their full meaning amidst the historical process of accumulation on a world scale.

So if we broaden out the scope of 1967 – and such a scope, is implicit, I think, in the call to decolonize periodization – we may see 1967 a bit differently. We can see it as a moment when the Rise of the South in its Middle Eastern incarnation, a process which challenged both global accumulation and was the outcome of challenging colonialism, suffered a sharp defeat. Perhaps it further suggests 1967 as an inflection point when the process of substantive decolonization and the full reacquisition of sovereignty in the Middle East, underwent a secular, but not permanent, one hopes, reversion. Such a rewriting or reframing of the parameters within which we understand 1967 does not at all preclude a meticulous examination of the minutiae of the 1967 war. It provides the appropriate context within which to understand the global forces and tendencies which produced that war in the first place.


          Comment on Zones d’ombre : Cartographier les réseaux d’influence et groupes d’intérêts au Parlement by Visualizing the influence of lobbies in Europe - Linkurious        
[…] involved in lobbying, expert groups, public expenditure and procurement. Others have tried different approaches to visualize the impact of […]
          Resource Recommendation: an "illustrated chronology of innovations"        
Michael Friendly and Daniel J. Denis have a wonderful interactive timeline on milestones in the theory and practice of data visualization. Be prepared to spend a lot of time there; it's a deep well.

Milestones in the History of Thematic Cartography, Statistical Graphics, and Data Visualization
          Logiciel de simulation énergétique        
Logiciel de simulation énergétique

http://www.batiproduits.com/moniteur/files/ProduitPhoto/1659281975.jpg

ArchiWIZARD ESQUISSE


Interface

  • Interface graphique 3D : affichage panoramique, mode 3D ou 2D (perspective ou 6 projections possibles + plan de coupe)
  • Mise en données simple, rapide et intuitive (glisser - déposer, édition par double clic…)
  • Affichage de l'arbre de navigation en surimpression
  • Tous les calculs sont actualisés en temps réel, affichage continu en fonction des modifications apportées par l'utilisateur

Technologies

  • Lancer de rayons ultra performant, basé sur la technologie RAYBOOSTER©.
  •  Utilisation optimale des machines multi-cœurs
  • Calcul thermique selon les méthodes de de la TH-U et la TH-CE (RT 2005)
  • Utilisation de la carte graphique optimisée
http://www.energies-renouvelable.com/presse/jpg151_1.jpg

* Lancer de rayons : méthode de simulation des phénomènes ondulatoires par la propagation de rayons dans l’espace, utilisé notamment dans la synthèse d’image 3D réaliste, et le calcul scientifique (acoustique, thermique, électromagnétique)

Mise en données

  • Importation de fichiers 3D (dwg, obj, skp) issus des principaux modeleurs ou logiciels de conception
  • Reconnaissance automatique des pièces, parois, ponts thermiques, fenêtres, portes. Calcul automatique des volumes, surfaces
  • Génération automatique de données par défaut (isolation, baies, ponts thermiques), en fonction de l'année de construction, de la localisation et de l'usage du bâtiment
  • Accès à de nombreuses bibliothèques :

    • Données Météo (format tmy2)
    • Matériaux de construction (murs, isolants, revêtements, vitrages)
    • Équipements (chauffage, climatisation, ventilation, solaire, éclairage)
    • Objets (fenêtres, portes, bâtiments voisins, éléments de décor, végétation)
  • Possibilité d'enrichir et personnaliser soi-même les bibliothèques

Calcul thermique

  • Calcul de la performance thermique de l'enveloppe du bâtiment : Ubat (TH-U de la RT 2005).
  • Calcul des apports énergétiques solaires précis par les méthodes de lancer de rayons et intégration dans les calculs thermiques.
  • Calcul de la consommation en chauffage et en refroidissement, basé sur la TH-CE (RT 2005).
  • Calcul de l'eau chaude sanitaire.
  • Calcul des besoins en eau chaude sanitaire, selon RT 2005.
  • Prise en compte d'installations solaires thermiques, calcul du rendement.

Calcul Solaire

  • Cartographie solaire : Calcul des apports solaires précis sur une paroi, dans une pièce, dans tout le bâtiment.
  • Récepteur Solaire : Calcul sur un capteur donné de la réception d’énergie solaire (direct + diffus + réfléchi), au jour, au mois, à l'année.
  • Calcul du facteur solaire à travers une fenêtre, et évaluation de la performance des occultations (store intérieur / extérieur, brise-soleil, végétaux).
  • Production solaire : calcul de la production énergétique (Photovoltaïque et Thermique), prise en compte automatique des masques 3D par lancer de rayons.

Calcul d'éclairage

  • Calcul des besoins en éclairage, par pièce et pour l'ensemble du bâtiment, en fonction de l'occupation, du type d'activité et de l’éclairage naturel ainsi que des systèmes de protection.
  • Calcul effectif de la consommation d'éclairage, si des luminaires sont placés dans une pièce.
  • Calcul de la cartographie : éclairage en Lux (naturel et/ou artificiel), facteur jour en tout point d’une zone.

Bilan énergétique

  • Diagnostic de performance Energétique : évaluation du bilan énergétique annuel du bâtiment et positionnement sur l’étiquette énergie (A à G)
http://img.archiexpo.fr/images_ae/logo-pp/raycreatis-L64585.gif

          Tracking the ever-shifting geographic heart of the European Union        
The tiny Bavarian village of Gadheim is now the cartographic bulls-eye of post-Brexit Europe.
          La conquista otomana de Constantinopla (1453)        
Ataque turco contra las murallas de Constantinopla

A comienzos del siglo XV el Imperio bizantino era ya una sombra de lo que había sido. El Imperio turco otomano ocupaba toda Asia Menor y amplios territorios europeos que se extendían hasta Serbia o Valaquia, estados vasallos. Por otro lado, muchas de las islas del mar Jónico y del Egeo pertenecían a los imperios comerciales de Génova y Venecia. En esa época las posesiones bizantinas se reducían a la ciudad de Constantinopla y Tesalónica y a un puñado de enclaves en el mar Negro y algunas islas en el norte del Egeo.
El sultán turco Mehmet II tenía como una de sus prioridades la conquista de Constantinopla, a la que pretendía convertir en el centro político de su imperio. Todos los preparativos técnicos y militares se llevaron a cabo en Edirne (antigua Adrianópolis). Una de las bazas del conquistador fue disponer de una poderosa artillería de sitio que incluía armas y cañones de última tecnología. En el sitio de la ciudad fue la primera vez que se emplearon piezas de artillería de diferentes tamaños en baterías combinadas contra objetivos fijos. Especialmente famoso fue el cañón construido por el ingeniero húngaro Urbano que tenía ocho metros de largo y era capaz de disparar piedras de 600 kg. Además, los turcos desarrollaron una gran pericia técnica a la hora de aislar por mar la ciudad. Sin el sitio naval la conquista hubiera sido muy difícil. El Sultán construyó una flota de cien barcos y ordenó la construcción del fuerte Rumeli Hisari para controlar el Bósforo.




Cuando el ataque otomano se convirtió en un peligro real, Bizancio pidió ayuda a Occidente y el emperador ofreció la unidad entre ortodoxos y católicos. Pero la ayuda procedente de la Europa católica fue escasa: el Vaticano mandó un solo barco con una compañía de ballesteros napolitanos, a lo que se unieron a comienzos de 1453 varios cientos de hombres entre los que se incluían los genoveses comandados por el condotiero Giustiniani, que desempeñó un papel clave en la posterior resistencia de la ciudad.
Las imponentes murallas de Constantinopla, reforzadas con un profundo foso, eran el principal obstáculo para su conquista. Mehmet II sometió a dura presión artillera al norte de la urbe, en la zona del Cuerno de Oro, mientras distribuia sus tropas de tierra por todo el frente oeste de la ciudad, desde el citado Cuerno de Oro hasta el Mar de Mármara. Los turcos pretendían centrar su ataque terrestre en una franja entre las puertas de San Romano y de Carisio. Por su parte, la flota otomana cercó la ciudad aunque no pudo romper la gran cadena que los bizantinos situaron en la entrada del Cuerno de Oro para proteger su flota.

Mehmet II

Mapa  medieval de Constantinopla


El sultán turco marchó contra la capital bizantina con un ejército de cien mil hombres, aunque muchos de los cuales no eran combatientes. Su élite estaba formada por la caballería imperial y los jenízaros, que rondaban los diez mil efectivos. Los jenízaros formaban unidades de infantería equipadas con armas de fuego de mano. Fueron numerosos los efectivos reclutados entre los territorios europeos vasallos de los turcos, tanto combatientes como no combatientes, entre los que destacaron los mil quinientos minadores procedentes de Serbia, Bohemia y Hungría. Frente a ellos, una guarnición de treinta mil defensores se encontró con el problema de cubrir con eficacia la defensa de unas murallas enormemente extensas.
A comienzos de abril Mehmet II estaba frente a la ciudad. Se habían transportado más de diez baterías artilleras, entre ellas tres cañones gigantes. El Sultán se situó con sus fuerzas de élite entre las puertas de San Romano y de Casirio, protegidas por los principales contingentes defensores bajo el mando del propio emperador Constantino XI y el caudillo genovés Giustiniani.
Las murallas habían sido reforzadas y con su foso y sus tres líneas defensivas consecutivas eran la principal baza de los bizantinos. De todos modos, la resitencia tenía un límite y a medio plazo solo un improbable ejército cruzado de socorro podría salvar la ciudad. 

Ataque turco contra las murallas de Constantinopla

Las hostilidades comenzaron el 6 de abril. Durante todo ese mes la artillería sometió a las murallas a una presión constante e, incluso, el gran cañón de asedio construido por Urbano se agrietó por sobrecarga y tuvo que ser reparado. Los turcos buscaron destruir en dos ocasiones la gran cadena que protegía el Cuerno de Oro a la vez que intentaron atacar las fortificaciones terrestres con torres de asalto desde las que pretendieron rellenar el foso, pero fracasaron. Las principales incursiones se produjeron en el valle del rio Lico, en el tramo defendido por el emperador y el genovés Giustiniani. 
A finales de abril se produjeron dos acontecimientos importantes: el 20 de abril una pequeña flota genovesa-bizantina logró sortear el cerco turco mientras que poco después, en la noche del 21 al 22 de abril, sesenta pequeños veleros turcos fueron transportados por tierra desde el estrecho de Bósforo hasta el Cuerno de Oro. Los bizantinos fracasaron en su intento de quemar los veleros y éstos fueron finalmente empleados para construir un puente de pontones desde donde bombardear con cañones las murallas bizantinas del Cuerno de Oro.

Empleo de artillería y torres ofensivas contra las murallas

Empleo de artillería y torres ofensivas contra las murallas

El 6 de mayo, Mehmet II ordenó un ataque general con treinta mil hombres sobre las murallas en el tramo más hostigado hasta entonces, entre las puertas de San Romano y de Carisio. En los días siguientes las fortificaciones fueron duramente bombardeadas y una segunda oleada de atacantes golpeó los muros desde la puerta de Carisio hacia el norte.
Aunque las murallas sufrieron en algunos tramos graves desperfectos, los asediados resistieron. A mediados de mayo hubo un nuevo intento fallido de romper la gran cadena, como también fue un fracaso el intento de los minadores serbios de hundir la muralla a la altura de la puerta de Carisio.
Algunos días después, los atacantes lograron acercar una torre de asedio a la muralla y cubrir el foso hasta levantar un gran montículo de arena que alcanzaba la altura de la muralla. Aunque los bizantinos destruyeron la torre con fuego griego, los otomanos habían conseguido debilitar sus defensas.

Grandes piezas de artillería turcas


Este cañón del XV conocido con el Cañón de los Dardanelos fue fabricado en 1464 y utilizaba bolaños de 300 kg de peso. El gran cañón empleado en la conquista de Constantinopla pudo ser muy parecido.




A finales de mayo, aunque corrió el rumor de la cercanía de un posible ejército de socorro y los sectores de la corte otomana contrarios a la guerra presionaron al Sultán, este estaba decidido. El día 29 de mayo comenzó el ataque final. Los bizantinos no lograron resistir las tres oleadas consecutivas de incursiones otomanas. El comandante genovés Giustiniani, que había sido un símbolo de la resistencia, fue gravemente herido y la desmoralización cundió entre los defensores. Al atardecer de ese día los jenízaros se abrieron paso a través de los muros destruidos por la artillería junto a la puerta de San Romano y la bandera turca ondeó en las hasta entonces inexpugnables murallas de Constantinopla.


Ataque final contra las murallas de Constantinopla


Antiguas murallas de Constantinopla en la actualidad

Aunque en los momentos inmediatamente posteriores a la conquista hubo saqueo y pillaje, el día 31 de mayo el Sultán prohibió los actos vandálicos y se aseguró que se preservera su autoridad y la seguridad de la ciudadanía griega. De hecho, el grado de destrucción fue limitado, al contrario de lo que escribieron después las fuentes cristianas: el sultán mantuvo en sus hogares a muchos cristianos e incluso pagó los rescates de muchos que habían caído prisioneros en manos de sus hombres. Tampoco destruyó Santa Sofía, la convirtió en mezquita y conservó sus frescos bajo una capa de yeso. Mehmet pretendía convertir la ciudad en su nueva esplendorosa capital y para ello necesitaba también lo que los vencidos podían aportar, necesitaba una ciudad cosmopolita y rica en culturas.
En Occidente la caída de Constantinopla fue recibida con pesar, aunque el mundo cristiano no hizo verdaderos esfuerzos por evitarla. Por su parte el mundo islámico aplaudió la hazaña, aunque muchos soberanos musulmanes rivales de los otomanos vieron con disgusto una conquista que abrió el paso a la hegemonía otomana sobre el Islam que se prolongó hasta comienzos del siglo XX.