Jim Enote and the A:shiwi A:wan Museum and Heritage Center

Zuni maps draw deeply on shared experiences of place. They depict petroglyph carvings, images from prayers and songs, colorful stacks of pottery, arroyos and mesas. They are an opportunity for the Zuni to reclaim a deep understanding of a shared cultural tradition, rooted in ancestral lands, told again in a familiar language. These maps are critical to constructing a bridge between the traditional and modern worlds, connecting the old ways with the new.

Via Nat Geo


Crater Lake and Mount Mazama


Details of the topography in and around Crater Lake and Mount Mazama show up beautifully in this 1989 shaded relief map by Raven Maps.

To celebrate the National Parks System’s centennial, Harvard mined its map collection to find these historic gems. Via National Geographic

Regarding Deep maps

A deep map goes beyond simple landscape/history-based topographical writing – to include and interweave autobiography, archeology, stories, memories, folklore, traces, reportage, weather, interviews, natural history, science, and intuition. In its best form, the resulting work arrives at a subtle, multi-layered and “deep” map of a small area of the earth.

As popularised by the work of author William Least Heat-Moon. More at Wikipedia

h/t @Places

a brief list of questions useful as a starting point for some map-making:

The Process:

  • Who will be mapping, why and for what purpose?
  • Does the group have common interests, values or desires?
  • Is there a pre-decided theme, or will it be worked out as part of the process?
  • Who and what will be invited and included, or perhaps implicitly excluded, and on what grounds?
  • Is the space physically accessible to everyone who might attend, and can childcare be included if necessary?
  • Are there any formal or informal hierarchies in the space, and how might these be addressed?
  • Does the process itself produce any emotions or affects? Is it psychologically transformative?
  • Who is the intended audience of the map?

The Map

  • What will be mapped and why is this important?
  • What materials or technology will be used?
  • What will be made visible, or hidden, and why?
  • What will be drawn, in what style, what colours?
  • Are there any practical considerations for the map’s intended use; e.g. should it be waterproof or capable of duplication?

The Life of the Map

  • How will the map continue its life outside this space?
  • How might the map function as a tool? Does it have any practical use?
  • Who will be able to access, or might be excluded from using it, and how will it be used?
  • What kind of knowledge is produced?
  • Might the map trigger other cycles of learning/critique/mapping elsewhere?
  • What are the political/ethical/social implications of these decisions?
  • What changes or desires might the map bring into the world?

via Rhiannon Firth in The Occupied Times of London, regarding Critical Cartography

Time, GIS and cartography

Dr. Kenneth Field recently addressed “The notion that a phenomena that varies temporally is difficult to model“, arguing that from space-time cubes and Story Maps, to coxcombs (aka polar area plots aka rose diagrams), mapping time has perhaps never been as well supported, specifically within ArcScene or ArcGIS Pro.

a coxcomb here Florence Nightingale’s diagram of the causes of mortality in the Army in the East

Ijlil, Atlit, Sarafand, Tel Letwinksy and Umm Khalid

Image part of new comprehensive research by renowned Palestinian historian Salman Abu Sitta and founding member of the Palestinian resource center BADIL Terry Rempel, into how “Israel captured and imprisoned ‘thousands of Palestinian civilians as forced laborers,’ and exploited them ‘to support its war-time economy.’“, to be published in an upcoming issue of the Journal of Palestine Studies.

Editors note: the title of this post comes from names for five of the official camps, for Palestinian non-combatant detainees.

h/t @demilit