Tag Archives: globalism

Fit to Print?

The iconography by which maps address their viewers might be framed in productive ways within historically situated economies of visual attention with interesting results.  For as much as they reflect practices of production, the ways that maps have engaged viewers who struggled with new ways to grasp expanse reveal a dialectic between graphic invention and a larger marketplace images, despite the tendency of those who style themselves historians of cartography to focus on their formal qualities or the mathematics of geographic production.  From their insertion at conspicuous places within some of the earliest printed world histories, mapmakers actively courted readers’ attention by crafting increasingly persuasive claims in aesthetically challenging ways, and by raising the stakes of their abilities to process expanse.  The promise to crafting a satisfying harmony of comprehensive global coverage has long existed in uneasy balance with their narratives.

The success by which cartography and art communicate globalism might benefit from tracing the ways in which globes have long tried to engage their viewers’ attention.  The woodcut of a world map below, designed circa 1490, defined a global purview for readers in ways intended to be cognitively satisfying, promising to orient them to unseen regions by scattered rivers and landmarks, even if they did so by using means that seem antiquated, being both of restricted scope and mediated by inherited ideologies of empire, Christocentric beliefs, and specifically Eurocentric models.  But the promise of expanding horizons led this bold two-page map to be prominently placed in a universal history to mark the recession of waters in a post-diluvian world, suspended in the hands of Noah’s three sons–Shem, Japheth, and Ham–serves as a blank slate to inscribe a global history that proceeds to span across generations to the Resurrection of Christ.

If the map of the world is crude by what we think of as modern standards, and possesses no clear spatial indices, the symbolic power of a planisphere of clearly Ptolemaic origins was modern:  the engraved schema provides ways of orienting viewers to the lavishly illustrated book’s s expansive content as a comprehensive condensation of collective histories about the world’s regions–making good on the recent authority of such projections along latitude and longitude to reveal an aggregate history charging the growth of worldly and ecclesiastical power over the emergent consciousness of a global expanse, centered roughly on Jerusalem, inscribing a succession of empires over terrestrial space.  Indeed, the discoveries of the New Worlds that were mentioned in the 1493 Nuremberg Chronicle (a compilation of universal history of somewhat scholastic origins known as the Liber chronicarum or “Book of Chronicles”) occupy small place in the service of describing the chronology of a succession of imperial ages that culminated in the ascension of the Holy Roman Emperor Maximilian I.  The early world map that seems to have derived from a Florentine archetype was used to describe the recession of waters after the Noahic flood in ways whose power existed to set the stage for the rise of Greek and European empires, rather than the discoveries.

 

world chronNuremberg Chronicle (1491); fol. 13 (Anton Koberger, Nuremberg)

 

If maps no longer convey such a stable sense of narrative progress, and such an engraving would no longer seem a marvel, most maps do considerable work in engaging an economy of visual attention.  The world is with fewer open spaces than it was for Noah’s three sons, and global history resists linear narratives, despite the resilience of similarly terrifying apocalyptic notes, at times fed by a rage for biblical prophecy that generated sufficient demand for tracking daily fluctuations of a Rapture Index available for online consultation.

Globalization demands adequate expression by a visual image that can engage its viewers, hopefully by more than the material underside of the interlinked–perhaps a map more fully revealing of the shifting nature of individuals’ relation to the inhabited world.  At a time when the earth is crisscrossed with media systems whose signals are relayed along 6,300 tonnes of satellites–and over 8,000 physical objects that orbit its surface and will outlast its inhabitants as a necklace of debris–we lack maps of how we inhabit the world or have remade our relation to it.

satelites-espacio-google world view

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Such computer-generated visualizations offer the chance to visualize the satellites that track our changing global positions and information flows, relaying media world-wide over a multiplicity of interconnections:  the image reveals what lies outside our visual abilities or comprehension–and which we would be otherwise all too apt to forget otherwise– by using government data to allow us to visualize the multiple layers at which satellites orbit our planet, even if they make it hard to track the wide array of signals that they transmit, intercept or surveil.  But they were absent from the multiple covers that served to catch readers’ attention in the global-themed relaunch issue of the New York Times Magazine, a striking photograph of a suspended glowing globe, shot in a studio setting with an exposure that disorientingly overlaps the toponyms of Africa and South America, whose equatorial line seems to cut the globe in an unfamiliar place.

The maps offer an angle to contemplate the stunning long-exposure image of a rotating globe editors of the Magazine recently commissioned from photographer Matthew Pillsbury as a cover illustrating the rapidly changing world for a relaunch issue.  The lit globe seeks to communicate both “the idea of chaos in the world, and how this is something we have all learned to deal with,” the design director observed.  But the cover of the New York Times Magazine designed by Pillsbury demands attention both for how it holds the viewer’s interest and renders the globe as its ostensible subject.  The photograph is an artistic interpretation, and compelling illustration that reveals multiple relations between art and cartography, as much as it describes the relations between nature and culture or between news media and globalization.  But if the image was intended to convey the “speed at which our world is changing” to readers, and presumably represent the news covered in its pages, it gives pause–even as an image that reflects on current quandaries of abilities to sustain the successful illusion of a promise of comprehensive news coverage in an ever-changing world.

 

1.  The almost transient shadow toponymy in the globe as Pillsbury managed to photograph so that the names of Venezuela, Bolivia, and Brazil congregate in a ghostly region off the shore of Africa, and Europe is suitably displaced to its upper regions, suggests the shifting focus of the news, and even questions the familiarity of reading the globe though that most conventional didactic of mapping forms, a globe of the sort one might have encountered in a schoolroom when learning about world geography for the first time:  the apparent overlapping of continents and blurring of the northern hemisphere destabilize our surety of global geography in an intriguing way, set, disembodied, above the words “HELLO, WORLD,” ask we re-examine the map we thought we knew.

The five-color globe that appears in the header to this post is, in fact, while a welcome departure from the templates of Google Maps, similarly opaque in the very inscrutability of the very glittering image of earlier attempts to map the earth that it offers.  Pillsbury’s long-exposure photograph of a spinning lit globe deserves interest as an advertisement of how the newspaper of record mediates news from a perspective that narrates a version of world news increasingly interlinked and less stable through a strikingly retro medium of mapping as a glowing globe.  The photograph addresses how the shifting of what once seemed immovable territorial boundaries circa 1989 have not only been redrawn but shift with an unforeseen fluidity challenging to comprehend.  Yet more than inviting us to interrogate relations, or the mobility of global populations and goods, the image almost aesthetically distances the spinning globe from viewer as much as it reveals levels of entanglement of places to one another and intensified contesting of sovereignty.  The blurred five-color surface of the spinning globe seems to abstract mapping from human geography.  It not only suggests the opacity of its ostensible subject; indeed, it almost asks the observer to throw up their hands in something passing for marvel at the illegibility of a large area of familiar regions, and at the increasing entanglement of current events.  It almost revels in being intentionally opaque, however, as if to say that the old indices of orientation just won’t work or clearly be commensurate to the take on current events that it will describe.

 

2.  To be sure, in an age of the proliferation of maps on multiple platforms and hand-held devices, it’s refreshing to rehabilitate the schoolroom globe, and almost ask us about our current world’s distance from it.  Oddly, however, Pillsbury’s cover employs an almost antiquated didactic object, a school map, relinquishing interactive mapping tools, to suggest the quick-changing world.  By spinning a schoolroom globe at high velocity to craft a visual pun to illustrate global change, the cover raises as many questions as it answers.  What seems a conservative cartographical format-if here used somewhat tongue in cheek–as an icon of cartographical authority is almost prosaic.  The sheen of the surface takes advantage of the conventional five-color globe of the world to seem to suggest a surface whose very colors and hues are so blurred to render them and all surface toponymy illegible, as much as an image of totality of global relations.  As may befit the newspaper of record, the globe is steadfastly traditional in its familiar five-color design:  it suggests a space by no means fixed, where boundaries around countries are redrawn and surfaces blurred for all practical purposes, but only tweaks the most standard image of the global coverage to suggest a disorienting sense in which we might lose familiarity in its geographical contours, rather than promise truly comprehensive coverage.  

For the globe’s illegibly blurred surface almost erases the considerable varieties of mapping by which we’ve come increasingly to understand and orient ourselves to the world, and almost relinquishes hopes for a new ethics of a world view, but just suggest the inadequacy of imagining the ideas of terrestrial location, proximity and geopolitics as received from earlier school globes.

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Is it that the idea of boundaries of knowledge are just not so clearly fixed after all, or that the problem of providing a single authoritative viewpoint is being explicitly acknowledged?  What does it seek to illuminate?

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More troubling, Pillsbury’s photograph of a glowing globe offers us no place to decipher almost a single word:  the effect is almost to see words swimming across its ghostly surface, unlike the transient figures that inhabit urban spaces in his stunning body of photographs of urban spaces.  The notion of a commission from the photographer to create an image of global coverage might be misplaced.  For Pillsbury has worked primarily in cities like New York, Paris, Venice, or London, using his knowledge of the local to much advantage, as well as Japan, more recently, where he’s taken advantage of a Guggenheim Fellowship to  turn his lens toward explorations of Tokyo’s public spaces.  His subjects have been less global than relentlessly cosmopolitan in scope.  Pillsbury’s recognizable style is more than a sign that the Times seeks to cultivate readers as the hip newspaper of record by the image in this post’s header, as much as suggest an actual global purview of different spaces.  The picture is almost a way of conveying just how difficult the job of the news is to convey all that’s fit to print, in a time when the world seems spinning faster than ever before.

 

3.  As an artist who has investigated the relations of crowds to urban space the spaces in New York that he knows well, often working to illuminate the “performance” of identity in interior or cavernous public spaces where individuals and crowds congregate, Pillsbury has cleverly employed extended exposure to blur the boundaries among individuals  in urban space and place.  The result is to question the relation of the individual to settings that might be otherwise familiar.  The extended exposure of the globe is less of a site for staging events or a setting, than a surface just out of contact with the viewer’s eye.  Despite the suitability of Pillsbury’s medium to observations of the interaction between individuals and images, or crowds visiting museums, such images are effective as encouraging ongoing visual investigations by expanding time in exposures from a few minutes to an hour that is collapsed into a single image.  They indicate the changing “geographic imagination” by which we all inhabit different spaces.  The spinning globe is photographed less to offer a record of lived space than an almost fetishized surface as an object, more than inviting viewers to consider the spaces that they inhabit; if the urban spaces can never be stopped or reduced to a purely static form, the globe is always in motion and hard to perceive save by the brightly lit sheen it presents.  It recalls a past legibility of space, rather than propose a prospect of continued legibility.

The photograph on the cover of the Times Magazine, despite its candy colors, contains a clear note of melancholy of the absence of hopes for adopting a clear relation to space, even as it radiates contentedness in that realization.  The photograph is perhaps best taken as a meta-observation on the success with which maps can continue to command interest in a changing world.  The candy-colored globe is an icon of cosmopolitanism, not primarily oriented toward coverage, blurring the notion of one-to-one signification, and almost attesting to its own inadequacy.  That is not, however, the most confident self-image for journalism to project.  And it hardly helps that we have to wade through about fifty pages of full-color advertisements for high-level commodities and financial services, speckled with small articles, until we find articles about the world in the Times‘ recent “Global Issue” that meet the promise its title posed, but raise some of the issues about which we might want to learn if we could better distinguish its spinning surface after all.

 

Spinning a Globe to show speedNew York Times Magazine

 

4.  The photograph interstingly contrasts to how Pillsbury regularly runs long exposures to pose topics of visual interest that invite us to look at how spaces are inhabited in new ways, raising compelling questions about the construction of space and how we live in it, the globe’s familiar surface offers more of an elusive object of desire and a commodity–and not provide a space that invites us into it, and whose business invites us to sort outs its contradictions.  For if the issue doesn’t really invite us to look at the world, so much as the advertisements suggest the globalized economy it serves, the sort of select writing that we have to wade through glossy ads to find is a deserved reward, but hardly a point of entrance.

Another of Pillsbury’s images of a strikingly similar color palette suggests the pronounced permeability of place to humans, and explores a living geography defined by human interaction in ways static maps can rarely either work to successfully register.

Pillsbury_Matthew_RobotRestaurantTokyoTV14628_2014_0© Matthew Pillsbury / Courtesy of Benrubi Gallery, NYC

 

But the ghostly presence of the illegible globe almost suggests a world that can’t be grasped, about which we are as mesmerized as challenged to process information.  Rather than invite the reader to interpret global space, the image seems a farewell to geography as a matrix of information, rather than the promise of global coverage made by most earlier symbolic maps in newspaper mast-heads or the animated backdrops of nightly news television shows.

 

globe by paraidesNew York Times

 

One senses that there is less interest in the history of an icon of spatial inter-relations, and networks of relationships, than an insider knowledge of how far we have come from the sorts of globes we used to use in school.  The photograph seems to gesture, however, to a long history in the twentieth century that takes the globe as a promise of the coverage that the news–or a news channel–could offer, if its iconic role seems to have considerably atrophied as it grew increasingly antiquated in current news graphics, which cultivate far more dynamic modes of visual engagement.

 

5.  The iconic marquis of De Lauer’s News Stand in Oakland, CA, whose range of international papers made it a mecca of the hard-to-find remains a survivor of the on-line.  The globe of its marquis dates from the Cuban Missile Crisis, as is perhaps evident in its charmingly corny magnification of the United States.  The globe so prominent behind the name “De Lauer’s” in the marquis provides a notable predecessor of the symbolic promise of mediating global information, and the purchase of the authority of the globe as a promise of the delivery of objective information to a shifting readership of news; even if the prominence of the United States on the map belies the fact of the range of international news it continues to sell, the marquis illustrated the inter-connected nature of the world delivered in print daily to the door of an Oakland news stand.

 

DeLauer's StorefrontOakland, CA

The image of the newscaster reading the globe was easily transposed to early television news for some years as an authoritative setting of addressing a public audience of viewers, back when news was of a considerably more univocal enterprise.  What now seems too a tired template for breaking news has retreated to a background of increasingly schematic form, no longer the authoritative site of enunciation from a position of expertise it was for Walter Cronkite’s newsroom, even as the studio backdrop map was recently reinstated for current newscasts.  The map in front of which Cronkite spoke was something of the objective correlative of  the reliability of the individual newscaster, or a sign promising continued confidence in his pronouncements, and was updated in the famous equal area Goode homolosine projection that was adopted for CBS Evening News.

 

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 Walter Cronkite (c. 1968)

It’s unclear if this is still the case, even if the network has recently resurrected the same backdrop, it seems to lack comparable authority.

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The stability of the globe has atrophied in network news, receding to a backdrop with strikingly less signifying power.  The globe has become a glyph of reduced prominence and authority–not only because of compelling graphics, but as its meaningfulness seems increasingly worn and holds less promise or stages a narrative of global coverage not clearly attached to a somewhat overly tired symbol.  No longer corresponding to the omnipresence of proliferating online maps in our worlds and on our other screens, the world map seems a superadded surplus, almost an older piece of mental furniture pressed into new service.

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The world map is often pressed into service as a supporting graphic rather than an authoritative point of reference:

world news.

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It’s hard to say how much a static map can pose the pretense of authoritatively describing a terrain that seems so rapidly shifting and whose dynamics of power it could hardly capture.  It is difficult to assert  the globe’s a promise of comprehensive coverage, or successful a medium to hold the viewer’s attention.

 

6.  To be sure, the continued promise that the globe makes is not truly able to be taken so seriously, as well, given the multiplicity of news sources that we tend to presume, and the difficulty of assuming that one source would credibly count as a fount for universal coverage.  Although global coverage remains an icon of authority, the geographical distribution of news items printed in the Boston Globe, MIT’s Center for Civic Media‘s project “Mapping the Globe” demonstrates, by showing the return on the promise of global purview promised in the newspaper’s masthead against its stories–demonstrating a predictably skewed coverage in 2011-15.  If reflective of recent global “hot-spots” in Egypt, Syria, Pakistan, and Iraq in that period, the skewed nature of their current coverage directs attention to and mediates a picture of global politics to its readers which one can easily re-imagine as distorting actual its proportions in response to proportions of the paper’s coverage:

boston globe:world

While this partly depends on the paper’s distribution, and putting news on the table that will grab attention–and this interactive map will allow viewers to investigate the map at much further depth, below its surface, by hyperlinks to the exact stories about each region that they can scroll through, as if by a toponymical indexing of the newspaper’s coverage of recent events:

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Articles per capita MA

It raises questions of the picture of the world that we see refracted in the news stories that the Globe prints, and what it effectively filters out of the mix to provide its coverage of news.

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The result, based on a morphing of the world map by data about stories related to countries in the Guardian newspaper, 2010-2012, was remapped accordingly by the energetic and enterprising cartographer Benjamin Hennig, in a cartogram that reveals the distortion of hemispheric privileging of space in the newspaper’s coverage, while maintaining the actual land/water ratio:  the result instructively magnifies the mideast, US, and Europe, echoing of distortions of the Mercator globe, while magnifying the AfPak region and Iraq, much of the Middle East, and both Japan and the Koreas:

GuardianNewsWithoutUK2010to2012_AllStories

Even without actually drawing an proportional cartogram of global areas covered in stories that reach print, such as that created by developers of Worldmapper, from Hennig to Danny Dorling, which rescale the size of nations in proportion to how often it is mentioned in online news items, or to create metrics of places corresponding to the size of articles newspapers devote attention to them–and perhaps have retained active bureaus–newspapers hard-wire our brains to a global map or worldview we all too readily internalize.  The worldview leads us to expect stories from regions of the world, and to suddenly make space for others–Ukraine; Liberia; Nigeria–aware that they may suddenly may disappear.  This might be called the world we bring to the paper, as we first click on its homepage or physically open its pages, as much as the world that the paper covers.  But the blurred world of shifting toponymy that Pillsbury preserves is more often one that lies just out of reach.

In terms of the acknowledgement of the blinders by which the world’s news is actually mediated, it’s nice to close with the combined tension of peace and violence created by the coexistence of obliteration of information and an ideal of harmony refigured by far more ironical image created by Maurizio Cattelan and Pier Paolo Ferrari for the same Magazine.  Cattelan and Ferrari provocatively painted of a repainting of the globe’s surface that both conveys a suggestion of blissed-out harmony of the island of the lower forty-eight states, and a terror of obliterating all existing toponymy save that in the forty-eight states between the Atlantic and Pacific oceans, save the partly obscured lettering noting both oceans.  This masking of a map shows an optimistically if terrifyingly blinkered news, a sense that the world is best in our hands when we’ve obliterated most all that is outside our immediate purview, prepared by what seems a man in a dark blue serge suit, who is calmly and decisively moving a brush studiously to conceal most of the surface of the inhabited world with baby blue paint, in a sort of Brave New World image of preparing What We Want To See as much as ‘All the News that’s Fit to Print’–and wonder if its consequences are so pure–and who is the suitably anonymous man in the blue serge suit who is doing the overpainting, anyways.   (It echoes the rendition of a perpetually sunny scenery in Google Maps, though even Google is more forthright in offering geographical coverage.  But it would be hard to offer less than shown below.)

Cattelan DetailCattelan/Ferrari

The multi-media image of a painted-over globe seems to record the censoring of what we need to know, and what is to be seen–and presents us with the manicured image of what we know best if not a view of the world where censorship is the new norm.  In the post-Snowden world, we cannot help but think about NSA’s efforts to infiltrate internet carriers and compromise global telecommunications networks without concern for international law–or treatises with the sovereignty of neighboring countries in the Caribbean:  in this globe there is “an equal measure of terror and peace,” although  the peace lies in obscuring of the world outside of the United States by blanketing the entire world with coats of light turquoise latex paint.

Cattelan's US 48Cattelan/Ferrari (detail)

Both images provoke us to consider the ways that the image provide commentaries on news as a space for learning around the world, or to orient ourselves to the dynamics by which we describe and are invited to investigate the world.

The mediated nature of news is, of course, not so tacitly commented on by the image of the editorial team that assembled the updated Magazine, young folks huddled around a large-screen Apple monitor of pretty similar ethnic identity and economic background, preparing the image of the world that will be soon ready to be consumed.  Has the screen replaced the globe?

22edlet_ss-slide-U7WL-articleLargeNew York Times

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Filed under Art and Cartography, globalization, news coverage, news graphics, News Maps

Maps, Mapping, Globalism: Imaging the Ecumene’s Expanse

That most ancient of words, Oikumene, expanded from the Greek “oikos” to designate a dwelling or residence, or ecumene denoted less the technical abilities of mapping or tools for describing of the world than the demarcation of inhabited lands in which civilized people or members of the church existed:  but the divulgation and expansion of the notion of mapping abilities have in recent years, since the explosion of information databases and during intense globalization since the 1980s, extended the notion of the ecumene that has grown to extend beyond the map.  It increasingly is invested as a terms with ethical connotations to understand or foreground humanity’s relation to its environment–or retake the human from the map–at a time when virtually no part of the world is not inhabited.  Indeed, the possibility of drawing frontiers between an uninhabited and inhabited world–or of defining limits of the inhabitable world–is so diminished that the concept of bounding areas are not clear; the areas of the earth that are no longer inhabited, its “open spaces” or unsettled areas have catastrophically declined in the past twenty years.

But the continued interest we have in describing how we occupy the world, if not demarcating the boundaries of the world, is at the center of the data flows and databases we process in GIS and that increasingly lie at our finger tips.  The instant generation of maps of the inhabited areas of the world have paralleled the catastrophic decline since the 1990s, when a tenth of existing wildlife declined and the catastrophic losses of wildlife confirmed at the  IUCN World Conservation Congress:  the shocking fact that only 23 percent of wilderness remains doesn’t even include the future effects of global warming, the current crisis in history’s tragedies mankind is currently in the process of having created or on its way to create.  Indeed, the destruction of wilderness–what are deemed intact landscapes that are mostly free of human disturbance–has perhaps most radically changed the nature of the inhabited world.  Since the “Last of the Wild” map was first published in 2002, the loss of almost a tenth of formerly uninhabited lands in the last decade is the most rapid expansion of human settlement of the planet, with some 3.3 million sq km of once-uninhabited lands lost, of which 2.7 million sq km2 are considered globally significant–a loss of some carbon biomass in forests destroys a resource that offsets atmospheric CO2.

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But let’s return to maps, such realities being to painful for me to contemplate.  Even as the entire earth is now inhabited, much is to be gained in the concept of actively mapping expanse both by preserving an analytic relation to that image of expanse, too often rendered abstractly in computer-generated cartographical media, and encouraging an analytic relation to how the material contents of maps embody space.  Crafting an image of the inhabited world as a bound expanse enjoyed a somewhat neglected historical lineage as a form of knowing the nature of an inhabited world and of orienting viewers or readers to the expanding unknown from the Roman empire:  the considerable intellectual heft of the term inherited from ancients–Eratosthenes, Ptolemy, and Strabo–and its signification of the inhabited and inhabitable earth informed most Renaissance maps and atlases, in which practices of mapping gained new epistemic ends as mediating comprehensive knowledge.

The comprehensive genre of the atlas, an illustrated set of maps promising true global coverage of lands linked by seas, developed in concert with the knowledge that the inhabited world extended beyond earlier imagined confined, and borrowed an expansiveness previously limited to nautical cartography or mapping.  The description of the distance to the edges of the world, if inherited from antiquity, provided a model for understanding the nature of the discoveries for the educated audiences among whom the first maps of the terrestrial ecumene first circulated both in manuscript and print–from the illuminated codices produced in Florence to the massive twelve-sheet wall-map announcing the Columban discoveries that the erudite Martin Waldseemüller compiled in the early sixteenth century Strasbourg from the school at nearby Saint-Dié-des-Vosges.

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The visual qualities of mapping, symbolized as an expansive landscape, cast the embrace of the inhabited world with qualities of perceptual transcendence over its variations and divisions.  Ancient geographic treatises included few maps; but mapping the ecumene created a relation of expanse and an observer’s eye in the late fifteenth century by organizing and ordering the globe’s inhabitation.  And although it’s odd to think of the ecumene as an inheritance of ancient geography that’s still employed, the inheritance mapping the inhabited earth resonates with Geographic Information Systems–although fashioning an image of the world’s geography has little of the ethical intent it seems to have enjoyed in both the ancient and early modern worlds.  When we daily orient ourselves to how space is inhabited on our computer screens, iPhones, or androids, we frame an image that bounds a record of how space is inhabited either to orient us to where we are going or how the presence of cars, people, bacilli, or weather defines the inhabit world.  Paradoxically, the growth of GIS technology has increased the manner of ways we can chart the inhabitation and presence of man in space, if it has not increased how we define its continuity, it has also provoked both a Renaissance of mapping and a crisis in the authority of the map as a representational record of the ecumene and its bound, as well as its bounded nature.

While the rest of this post isn’t exactly heavy lifting, but is stuff I’m still processing and finding my way around.

1.  The assemblage of maps in a sequence of global coverage was identified with the cultural distinction Ptolemy gave to the project of world-mapping on a graticule of meridians and parallels, to be sure, both compressing a growing sense of the world’s navigable expanse and indexing its toponymy along climactic zones.  The term ecumene challenged the mental imagination by encompassing local variety in a capacious global category, ordering a global map in a neatly bounded surface beyond the Indian Sea, and up to the limits of known land, in a feat of mental dexterity as much as precise or accurate map of exactly determined scale.  The lower boundary of the map copiously noted “terra incognita,” as later projections–and left it at that, as an expansive white space that exists beyond the sea and lakes of the moons, as this Florentine map includes, adopting the notion of an extensive northern ocean to frame the inhabited world–even while seeing the Indian Ocean as closed.

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Indeed, even as the world grew more detailed and other continents were registered as inhabited, as in the Ortelian planisphere, the growth of regions of terra incognito expanded, as if to parallel the known regions which were designated by naturalistic landscapes:  the unknown regions of “America dive India Nova” were paralleled with the imagined “Terra Australis,” a later configuration of the mythical Java la Grande.

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The ancient Greek astronomer and scientist Claudius Ptolemy proposed using terrestrial maps on geometrically derived parallels and meridians as tools of portmanteau-like capacity to comprehend terrestrial spaciousness, by segmenting the world’s inhabited surface by degrees of longitude.  The notion of mapping totality was particularly fertile for early map-readers a decade before 1492.  The tools for mapping the ecumene or inhabited world provided an ambitious compendium of global knowledge, although the geographic knowledge of the world was limited–and still was by the time of this world map, illuminated circa 1482:  although restricting the ecumene for modern eyes, its capacious reach extends south to inner Ethiopia and northward, beyond its broken frame, to embrace northernmost isles beyond Thule.  Rings of uninhabited islands indeed constituted, John Gillis has recently noted, part of the mental furniture on the boundaries of the inhabited world for most fifteenth-century men, and suggested a comforting bounding of the world that seemed to illustrate its protection and insulation, lying as it did between uninhabitable climactic zones and far-off seas.

The ethno-centered ancient term maintained a sense of charting the world’s recognizable inhabitants or those that mattered to the readers of maps:  so, in the Augustan age, Roman’s referred to the expanse of the empire as the ecumene, beyond which lived barbarians.  But even as it retained a bounded sense for Renaissance readers, the totalizing image of an ecumene provided a way to imagine the population of an expanse greater than lay in the ken of most–and to understand coherence within a world that included information from far-off lands, even if many fifteenth-century people lacked clear geographic categories of spatial division of an inhabited terrestrial expanse.  The edges of the earth were oddly clear for a period that suggests limited familiarity with expanse: the monsters and extraordinary riches found there were included in fifteenth-century editions of Ptolemy’s handbook of world geography, including elephants in the island of Taprobane, beyond India, trees that had leaves year-round, multitudes of serpents, and cannibals.  These were the signs of the world beyond what humans knew, and included the bare-footed gymnosophists of India.

The compendious divisions of this mental map in a sense informed an engraved world map printed as the sixth page of the 1493 Nuremberg Chronicle, or “Book of Chronicles,” a “universal” history that promised a temporal compendium of world history, embracing historical ages in order to be able depict the division of continents from its creation through after the recession of waters in the Noahic flood through the succession of worldly empires that Augustine and Orosius had famously described–a work that captured the early taste for engravings as mediating information in Renaissance Nuremberg.   Romans discussed their empire as the ecumene, imitating how Greek geographers discussed an ecumene at whose fringes lived fundamentally other foreign Peoples, outside the scope of human concern and beyond the limits of human inhabitability; the world-map in the Chronicle placed outside its borders the excluded races of  Cynocephali, one-footed Sciopods, reverse-footed Antipods, bearded women, and one-eyed cyclopean monsters.  These lay outside the three regions divided among Noah’s three sons Shem, Japhet and Ham, or ecumene, and outside its image of the inhabitable world where humans dwelled, but also reflected the new world that the recession of waters in the Noahic flood had revealed to human sight, and the projection of the world that its editor included registered the shock of the prospectus terrarum that the lessening of global waters worldwide revealed–and the ecumene it unveiled:

SECUNDA ETAS MUNDI

 

 

Hand-illuminated versions suggests significant curiosity in these creatures placed outside of the map’s ruled boundary who dwelled in a different space from the river-nourished environment of what one supposed to lie on the edges the habited world:

 

Secunda Aetas Mundi

 

 

The ecumene had of course already expanded dramatically by 1490 or 1493 that challenged thought about its both its boundedness and uniformity and cartographical forms to represent spatial expanse.  It continued to expand dramatically in the following years for readers of maps.  Similar monstrous races were included on its peripheries:  in the northern limits of Asia, a boundary of the inhabited world, even in Martin Waldseemüller’s learned Carta marina of 1516–both in response to literary sources and travelogues as well as the mental furniture of the bounded region of human habitability.  Many of these races were left off of the map as “an empirically known space,” for the very reason that they challenged and threatened a human space, and the boundaries of the world revealed by maritime exploration were unknown–even if sea monsters were increasingly banished from the more the edges and unknown areas of the more refined world maps, as the Carta marina.

 

Waldseemuller 1516 carta nautica

 

The consciousness of limits of habitability or human settlement was a graphic expression of Strabo’s mandate that geographers show the world’s inhabited part, as much as its inhabitants or populations to readers to satisfy curiosity and to respond to a need to describe its limits, as much as its totality:  “the geographer must describe the inhabited world in its known parts, neglect its unknown regions, as well as what is out of reach” (II, 5,5), placing a primacy on describing those parts of the world or communities in which humans live.  Although most fifteenth-century people did not easily domesticate the idea of an extensive space, let alone an undifferentiated expanse, picturing the unity and comprehensiveness of the ecumene became a basis for thinking about expanse, and comprehending difference:  the image of the ecumene in the Nuremberg Chronicle became a basis for continuing a rambling shapeless narrative grounded in a series of embedded or potted histories of place, each defined around an individual city and city view:  the ecumene was the landscape, if you will, in which each was situated.  There is often limited notation of a matrix of parallels and meridians in what might be called a readable fashion in early Ptolemaic maps:  it helped make space legible and material–or a sense that they are conventions of understanding the dramatic contraction of global space, but not indices of way-finding or marking place, as in these gores, identified with Waldseemüller’s school of cartography, ostensibly made for a small globe.

 

waldseemuller_map_found_4_7_2012

 

 

What has happened to the notion of the ecumene?  Even as the Ptolemaic ecumene was expanded, the community embraced in the map grew, rather than being abandoned, if New Worlds were processed into a map that reduced the prominence of Europe at the center of the inhabited world.  But the expanse of the ecumene held together, as it were, a sequence of regional maps, partly because the concept contained the promise that the whole world could be divided and known in synoptic form in a series of synoptic images that reconciled spatiality and territoriality.  Although mapping the continuity of expanse undergirded Renaissance cartographical images, the precision offered considerable wiggle-room, as it was limited only to the known.  But the division of space into bounded records of expanse were influential; the “chorographical” map of community became a counterpart of the totalizing coverage of a geographic projection.  To be sure, such maps responded to the diversity of ecumene that were discovered.  And maps provided models to mediate culturally fragmented collectivities, and fashion coherence across confessionally-divided communities– as the national map Oronce Fine designed of France to the French national atlases of the late sixteenth century to the English maps of Christopher Saxton, or Philip and Peter Apian’s maps of Central Europe, or a cycle of maps of the Italian peninsula that Egnazio Danti organized for a corridor leading to the apartments of Catholic Pope, discussed in an earlier post.  The coherence of each of these regions provided a sort of microcosm to the ancient geographic ecumene as it gestured to the wold that Romans civilized.

 

2.  The second half of this blogpost shifts focus.  In ways that less linked to cartographical models, it uses the notion of an ecumene to interrogate the survival of a  mapped global space in more modern mapping techniques.  We now lack similar boundary lines, of course, and measure contact among its regions rather than being awed by the immensity of the world’s expanse.  But the same term gained an ethical heft  in Enlightened thought to express a mandate for cosmopolitans to inhabit the world to become citizens of its entire expanse and cultures.  This shift in meaning, often thought of as a rupture, suggests continuities with the contemplative uses of globes for ancients as signs of learning or stoic remove.  The modern recuperation of the ecumene, distinct from its sense of the community of Christians (inherited from the Enlightenment) or the community of mankind is more striking as a relation to a lived environment, in ways that recuperates the ontological category of ecumene in order to describe and refer to the “humanized” world in which we now live–whose surface is more fully inhabited than ever before, but its nature shaped and informed by humanity both in regional environments and as a whole.

Augustin Berque has emphasized the benefits of attending to a relation, described by Tissier, between man and the planet in his 1993 article in the journal Persée, striking for how they dispense with the very category of a map if provocative for how they recuperate the ancient term in an ethical sense.  The term “ecumenical” oriented the term to the continuity in a community of believers.  But the ethos recuperated by Berque refers to what is human in the world, and a way of being, stripped of a fixed ethnocentric perspective.  By locating the “oikumenal” in terms of human geography stripped of a cartographical foundation, his sense eerily prefigures the images of the inhabited world that are both the benefits and costs of GIS as a basis for judging one’s own relation to the global world.  Berque has removed this ancient term of encyclopedic or positivistic coverage as a material register of geographic toponomy and the ancient craft of map making that embodied a fixed relation to the world.  His construction of an ecumene encompassing human society and its relation to the environment melds nature and culture in ways similar to the ancient term in its ethical connotations.  But his usage oddly dispenses with its graphic construction in favor of a global consciousness:  for in calling attention to the “ecumene,” has removed mankind’s relation with the earth’s surface is removed from a simple demonstrative function of the map:  much as the medium of GIS  defines the inhabitation of the world from one slant or subject, Berque asks us to embrace the multiple effects of mankind on the planet.

Berque believed that with the humanization of the planet complete, and the physical planet dominated by the effects of human life, more emphasis should be placed on a phenomenological analysis of the relation of subject an ambient by this Greek term, now removed from mapping practices to embrace human geography as a tool to consider the relation of man and his [made] environments. Putting aside the value of Berque’s point, the disposition of this philosophical standpoint  reflects the deconstruction of the privileged place of the terrestrial map and of geographic knowledge in GIS, and the image it perpetuates of the inscription of a human geography.  The relation of man and his planet–or the effects of man on the planet–are now the scope of a wide range of GIS maps of human habitation and Google Earth, or maps of influenza, infections and disease in data visualizations or geographic metadata catalogues, whose aim shift from physical geography to the place of mankind in it.  Increasingly, we are prepped to see the world nightly with a false immediacy of the nightly news, less focussed on territorial boundaries than a token of comprehensive coverage, prepped for consumption much as the newscasters who present an account of the “daily novelties” are prepped and outfitted in the apparatus of a news room.

 

Newscaster prepping.png.JPG

 

As put it eloquently (and cleverly) by Bruno Latour and friends, our ideas of territory so clearly derive from maps that the digital ubiquity of mapping places us into a new relation to territory:   we now navigate not based on “some resemblance between the map and the territory but on the detection of relevant cues . . .  to go through a heterogeneous set of datapoints” by which to move from different posts to gain new bearings.  We are always navigating a new relation to territory, or understand territorial models, not assuming defined and predetermined boundaries.  This notion of the environment is based on an ability to read signs of its inhabitation and peopling, rather than with reference to previously mapped territories, and is rooted on the ability to navigate by using maps on a screen, rather than on paper–in which the lack of resemblance indeed has further purchase (and persuasive power) as a gain in both certainty and objectivity.

 

3.  The analytic nature of the reader’s relation to GIS maps is less based on embodying place or expanse in a cartographical manner, because it is not rooted in mimetic qualities.  For the map, in much GIS, is used essentially as the primary field to encrypt variations in data, and removed from any pictorially descriptive function.  Put better, the map is something of a found object, a template, an objective construction in which we sort out the real information that is displayed upon it in an appealingly objective fashion, but one that lacks an orientational power rooted in mimetic claims and indeed turns away from making any actual mimetic claims:

 

usmap9

Indeed, the underlying positivism of the objectivity of the map is recycled in most visualizations that are rooted in GIS.  If modernity, as Doreen Massey put it, involved “a particular hegemonic understanding of the nature of space itself, and of the relation between space and society,” drawing expanse on multiple computational platforms in GIS has decoupled space from a precise location:  we now know from a true “view from nowhere.”  The differentiation of terrain or local constructions of space are of less interest than the projection of meaning on a map that is treated as a screen, and several significant local markers may be absent or not noted.  Shifting scale by moving a cursor does not create a more readable space, but provides a very odd reframing of space as a unit that is not comprehended by the reader, but able viewed simultaneously at multiple scales of changing parameters, zoomed into and out of, and adjusted on a digitized scale bar. Our current National Research Council argues in its spatial literacy report on spatial thinking that “the important thing is that they allow for the spatialization of data and use a range of types and amounts of data,” lending primacy to the readability of data over the analytic or representational basis of map-making.

What is physical geography, after all, in many of these maps?  The prime mandate is to map one’s relation to the environment in a readable fashion, rather than to encode layers of local topography or meaning, and to streamline the map to allow its reconfiguration in different datasets that prepare for readability, rather than granularity or density of meaning.  Again, this is based not in mimesis, and no longer based on the notion or mimetic projection of territory:

 

MacArthur Freeway 11-00

Children's Hospital 11-51

If we speed this up, to look at a sort of time-stop photography of cabs in San Francisco’s downtown area, as did Stamen design in a pioneering map that combined aesthetics and the abundant database of the surveillance operations of Google Maps, and is based on readings taken from the GPS data of the Yellow Cab Company of San Francisco, available also as a film:

Stamen Cabs

Or, in Shawn Allen’s map/photo, which resembles a direct transcription of the taxicab scene in downtown San Francisco on June 15, 2012:

Shawn Allen's map:photo

Does an impoverishment of spatial literacy or toponymy result from such containers of datasets that use maps as formats?  The omniscience and transcendence of the map viewer is immeasurably increased, but the viewer is the receptacle of data, as much as the perceiver of the scene:  new currents are configured and new flows revealed, as data from a variety of sources are richly encrypted into the surface of any given image, compressing the sort of media to which we might have access to a single screen.  One has a different sort of relation to a screen than to a variegated surface, reading a way of configuring information in different ways:  but the difficulty with the screen in particular is its lack of a sense of spatial embodiment. Compare it to an earlier map of the same region, not at all sparing with information but bending backwards to compress legible content within a description of the city’s environment:

sfharbor

These are, perhaps, essentially different modes of data compression, based not only on distinct tacit presumptions, with one angled toward data flows, rather than to the ostensible objectivity of a perceptual model.   But the difficulty to embody data flows can generate an oddly 2-D superficiality that forsakes the very quality transcendence to which earlier ecumene aspired.  Data-streams provide a selective mapping that illuminates one angle of analysis, as it were, rather than aspiring to process an image of the entire city’s or world’s actual inhabitation.

Let’s however insist on being more concrete.  When used to display shifts in a census, the map below displays data removed from topography or centers of population density, and is a data visualization without refined conventions to process its content or meaning for viewers, even if its meaning is quite serious and subject quite human, because it displays information on a static template with little interpretive key–since this map is less of an autonomous and self-standing unit of meaning than a map that demands to be read in reference to familiarity with a map of the distribution of the state’s population:

CO2 emissions

 

The above map of CO2 emissions of Northern California households elegantly foregrounds one specific reading of the relation of man to the environment. The challenge raised by such an elegant map is to retain communicative flexibility of the conventions of terrestrial mapping, however.  In any GIS map, there is the anger of emptying the format of project from content such as topographic variations, specific local detail, or the dynamic relations of space and habitation within a map:  the conventions of the format gains an iconic or symbolic register alone, in short, and is considerably impoverished as a description of terrestrial habitation when it serves as a field to display data flows or project a database.  One issue is to combine the data with how the analytic framework of the map integrates word and image or creates a structural distribution–something like the poetics of mapping–rather than employ maps as a passive container for spatial information instead of actively creating a way of thinking about space. The mapping of the results of a census regularly lack a sense of topographic variation or differentiation of urban and rural population which would render it more meaningful, and give a plasticity to its already remarkable contents as readable content.  This partly lies in the lack of a dynamic relation between the visual field of the map and its reading, as in this map of the regional variations in the India’s regional population per square kilometer:

 

dastes_F2

 

The map does not exploit its own conventions of orienting readers to space or expanse.  But GIS mapping offers a significant range of angles by which to read and explain its content.  The relevance of clarifying readers’ relations to the environment are in fact pressing, as revealed on this interactive map–which even includes an option for the reader to learn in detail what s/he can do to help:

 

Scenarios of Global Warming

 

At the same time as this pessimistic picture of the actual eventualities of climate change in the age of the anthropocene, the radically shifting nature of a world which is no longer shaped by proximity, or challenged by distance.  The map of internet penetration suggests, rather than a new map of inequalities alone, the new obstacles to the penetration and responses to messages worldwide, and, no doubt, contributed to the difficulty of the transport of needed goods and medical supplies to western Africa during the current epidemic of Ebola, which seems to have left populations scarred by the difficulty in transatlantic communication, as much as the lack of adequate maps, as OSM-H has shown, of adequate mapping on the ground.

 

2000px-InternetPenetrationWorldMap.svg

 

Indeed, the map of internet penetration, for all its unpleasant echoes of a colonializing perspective, where first-world countries receive greatest coverage, reveals the extreme difficulties of penetration of all of the coastal countries of West Africa–unlike Nigeria–where the highly contagious virus has proved most difficult to be contained, and information about  the virus less able to be widely disseminated.

Are the edges of the penetration of the internet the most vulnerable edges of the inhabited world, and as the edges of the accessibility and sharing of human information the most vulnerable to cataclysm?

 

4.  To some extent, this takes us back to Berque’s notion of the ecumene.  But the relative thin-ness of encrypting data projection on the map is so less fine-grained to impoverish the relation between reader and map or registers of engaging readers:  the granularity of the map is particularly great perhaps because the map’s visual qualities are less closely joined with its textual ones, or the hypertext only uses the map as a static schema. There seems the danger of how maps direct our attention to spatial variations and complexity with the proliferation of maps as visual media across different venues and platforms, and a dissipation of the authority of demarcating expanse or of compacting data in a uniform surface.  Perhaps this recalls Berque’s notion of the ecumene as a set of relations to the environment, which can be read in different ways rather than in one way.

The question of habitation has become turned, like a prism, to illuminate new points of view and angles of perception, a topography of habitation indeed seems beside the point.  After all, there are no real areas of the globe that are not inhabited, and the questions of orienting individuals to space seem more pressing than ever on ethical, ecological, and moral grounds alike–if not of just making sense of the effects with which man inhabits space. In a somewhat ponderous post, let’s offer a comic conclusion, however, rather than carping about media for mapping in an age of digital reproduction and increasing vectors of data flow.  The GIS map has become a versatile demographic tool to reframe questions and reveal spatial links, possible vectors of influence or pathways of causation, and indeed maps of emotions or violence.  The question is at root what sort of remove it places the map reader to interpret those vectors on its surface.  There is a temptation to deflate the authority of the descriptive value of such a matrix for its lack of fine grain.  Amidst the attempt to map the Arab Spring there was the inevitable  GIS irony of naturalizing political movements with the ephemerality of a weather map–more a mental map of what the media presented, to be sure, rather than a map designed to orient its content to a reader practiced in interpreting a map’s construction or its conventions.  The map has the value for its viewers of an illusion of transparency and a medium of omniscience:

 

 

middleeast_map21_1829864a

 

Or GIS-inspired variations on sabre-rattling from the American right, which was openly alarmist (if not antic) in tone, against a backdrop from Wikipedia commons:

 

ZIO_middle_east_map_jpg_big_1

 

These pseudo-news maps come from the GIS family of signs, even if they are not based on actual data.  They orient viewers with a wiki-like remove. It makes sense that at this point ecumene denotes more of an ethical stance to describe man’s relation to the environment, shifting from to what that process of inhabitation might mean; there is no demand for graphically rendering the inhabited world, but rather the ways mankind inhabits the earth and has filled and marked its space.  But there is a loss of mapping habitations. And so map making in the flexible media of GoogleMaps is no longer an expandable portmanteaux of fine grain, but rather a matrix of data streams where one charts multiple consequences of inhabitation rather the local terrain.  If we no longer have Sciopods outside of our human realm, we lose a sense of an ethics of mapping or even of relating to maps when we dispense altogether with practices of map-making.

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Filed under anthropocene, data visualizations, globalism, Google Maps, metageography, Ptolemaic geography