By John Pickles
This e-book presents a necessary perception into the practices and concepts of maps and map-making. It attracts on quite a lot of social theorists, and theorists of maps and cartography, to teach how maps and map-making have formed the areas during which we live.
Going past the point of interest of conventional cartography, the booklet attracts on examples of using maps from the 16th century to the current, together with their position in initiatives of the nationwide and colonial nation, emergent capitalism and the planetary recognition of the traditional sciences. It additionally considers using maps for army reasons, maps that experience coded sleek conceptions of future health, disorder and social personality, and maps of the obvious human physique and the obvious earth.
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Extra info for A History of Spaces: Cartographic Reason, Mapping and the Geo-Coded World (Frontiers of Human Geography)
Before Cezanne, every painting was to some extent like a view seen through a window. Courbet had tried to open the window and climb out. Cezanne broke the glass. The room became part of the landscape, the viewer part of the view. Thus the challenge of modern art and modern science is to work through the implications of accepting the inevitability of our participation. ' Failure to come to terms with this participation has serious consequences. 's materialism with Cezanne's dialectical view of 54 Deconstructing the map the image.
Such claims found resonance in geography. For Zelinsky (1973): 'a map ... ' With Brian Harley's later work, the study of maps and cartography as products of human endeavours, social interests, and institutional powers became an established and legitimate area of inquiry. 10 Both in terms of the 48 What do maps represent? 49 Deconstructing the map specific claims made in Harley's writings, but also in terms of the ways in which 'Harley' and 'deconstructing the map' have entered the lexicon of critical human geography and cartographic studies, the study of maps as other than simple iconic devices or complexes technical products has gained widespread acceptance.
In this section, I unpack the textuality of maps in three ways: the world and the text, the text in a text, and the analysis of the work itself. We encounter ambiguity the moment we ask: what is the content of a graphic image? Clearly it is the real world, the real situation, the landscape, the scene. The map-maker reduces this object-field according to established principles of objectification, abstraction, reduction and idealization to create the map. In this sense all maps are thematic abstractions 50 Deconstructing the map involving reduction of one form or another (see Harbison 1977 quote at the beginning of this chapter).