Mapping Beyond Measure

Over the last century a growing number of visual artists have been captivated by the entwinements of beauty and power, truth and artifice, and the fantasy and functionality they perceive in geographical mapmaking. This field of “map art” has moved into increasing prominence in recent years yet critical writing on the topic has been largely confined to general overviews of the field. In Mapping Beyond Measure Simon Ferdinand analyzes diverse map-based works of painting, collage, film, walking performance, and digital drawing made in Britain, Japan, the Netherlands, Ukraine, the United States, and the former Soviet Union, arguing that together they challenge the dominant modern view of the world as a measurable and malleable geometrical space. This challenge has strong political ramifications, for it is on the basis of modernity’s geometrical worldview that states have legislated over social space; that capital has coordinated global markets and exploited distant environments; and that powerful cartographic institutions have claimed exclusive authority in mapmaking. Mapping Beyond Measure breaks fresh ground in undertaking a series of close readings of significant map artworks in sustained dialogue with spatial theorists, including Peter Sloterdijk, Zygmunt Bauman, and Michel de Certeau. In so doing Ferdinand reveals how map art calls into question some of the central myths and narratives of rupture through which modern space has traditionally been imagined and establishes map art’s distinct value amid broader contemporary shifts toward digital mapping.

Over the last century a growing number of visual artists have been captivated by the entwinements of beauty and power, truth and artifice, and the fantasy and functionality they perceive in geographical mapmaking. This field of “map art” has moved into increasing prominence in recent years yet critical writing on the topic has been largely confined to general overviews of the field. In Mapping Beyond Measure Simon Ferdinand analyzes diverse map-based works of painting, collage, film, walking performance, and digital drawing made in Britain, Japan, the Netherlands, Ukraine, the United States, and the former Soviet Union, arguing that together they challenge the dominant modern view of the world as a measurable and malleable geometrical space. This challenge has strong political ramifications, for it is on the basis of modernity’s geometrical worldview that states have legislated over social space; that capital has coordinated global markets and exploited distant environments; and that powerful cartographic institutions have claimed exclusive authority in mapmaking. Mapping Beyond Measure breaks fresh ground in undertaking a series of close readings of significant map artworks in sustained dialogue with spatial theorists, including Peter Sloterdijk, Zygmunt Bauman, and Michel de Certeau. In so doing Ferdinand reveals how map art calls into question some of the central myths and narratives of rupture through which modern space has traditionally been imagined and establishes map art’s distinct value amid broader contemporary shifts toward digital mapping.

Outcome Mapping: Building learning and reflection into development programs

Foundational introduction to the concept that organizations create major impacts by making small changes.

Geographic information systems (GIS), the Global Positioning System (GPS), remote sensing, and other information technologies have all changed the nature of work in the mapping sciences and in the professions, industries, and institutions that depend on them for basic research and education. Today, geographic information systems have become central to the ways thousands of government agencies, private companies, and not-for-profit organizations do business. However, the supply of GIS/GIScience professionals has not kept pace with the demand generated by growing needs for more and improved geographic information systems and for more robust geographic data. Beyond Mapping assesses the state of mapping sciences at the beginning of the twenty-first century and identifies the critical national needs for GIS/GIScience professionals. It examines the forces that drive and accompany the need for GIS/GIScience professionals, including technological change, demand for geographic information, and changes in organizations. It assesses education and research needs, including essential training and education, new curriculum challenges and responses, quality assurance in education and training, and organizational challenges. Some of the report's recommendations include more collaboration among academic disciplines, private companies, and government agencies; the implementation of GIS/GIScience at all levels of education; and the development of a coherent, comprehensive research agenda for the mapping sciences.

Atlas of Emotion is a highly original endeavour to map a cultural history of spatio-visual arts. In an evocative montage of words and pictures, emphasises that "sight" and "site" but also "motion" and "emotion" are irrevocably connected. In so doing, Giuliana Bruno touches on the art of Gerhard Richter and Annette Message, the film making of Peter Greenaway and Michelangelo Antonioni, the origins of the movie palace and its precursors, and her own journeys to her native Naples. Visually luscious and daring in conception, Bruno opens new vistas and understandings at every turn.

To better understand and improve your systems, you must measure and map their essential characteristics. Yet, because your systems and their associated processes occur over varying spatial and temporal scales, you will need various types of maps and metrics depending on the level of detail and understanding required.During nearly four decades of ex