• Il n’y aurait pas quatre, mais bien cinq océans sur Terre | Radio-Canada.ca
    https://ici.radio-canada.ca/nouvelle/1803962/cartographie-ocean-austral-ajout-national-geographic

    L’océan Austral est reconnu depuis longtemps par les scientifiques, mais puisqu’aucun accord international n’a jamais été trouvé, nous ne l’avions jamais reconnu officiellement, explique Alex Tait, géographe pour la société dans un communiqué.


    #science #océanographie #géographie #politique_internationale #politique #océan_austral #sud #national_geographic #carte

  • Organic Maps is a better fork of MAPS.ME, an Android & iOS #offline maps app for travelers, tourists, hikers, and cyclists based on top of crowd-sourced #OpenStreetMap data and curated with love by MAPS.ME founders. No ads, no tracking, no data collection, no crapware.

    https://organicmaps.app (nécessite android 5 mini)

    Une alternative qui peut fonctionner sous android 4 qui semble « clean » d’après https://doc.e.foundation/maps

    https://www.magicearth.com

    #GPS #app #ordiphone

  • Sky in the Room : Maps from Quarantine

    This article aims to present and discuss the main results of an exercise carried out as part of a university course in Human Geography, which took place online in the period March-May 2020. Following the urge to represent the space perceived in the quarantine due to the lockdown period caused by the Covid-19 pandemic, about fifty students made themselves available to tell, through mental mapping, the transformations of their pre- and post-epidemic experience. After a brief introduction on the theoretical bases and the motivations of this specific assignment, we will analyze the elements highlighted by the students trying to offer a critical and contextual reading of how the subjective and contingent conditions interact with the relationships with the living space. The mental maps produced, therefore, will become the narrative tool to offer a reading of the time and space of modification in this particular and unprecedented situation. This condition has transformed external stimuli into mental contents by placing an emphasis on the relationships between individual and territory, relationships and perceptions of space.


    http://www.j-reading.org/index.php/geography/article/view/273/259
    #lockdown #confinement #cartographie #carto-experiment #quarantaine #coronavirus #covid-19 #cartes_mentales #corps #Moles #coquilles_subjective #Rohmer #espace_vécu #espace_perçu #safe_space #espace #temps #cartographie_subjective #émotions

    ping @reka @visionscarto

  • Bora : A Wind Tells Its Story

    Nice to meet you, stranger. My name is Bora.

    I am a wind, a cold wind of the North. Are you ready to follow me in my journey? You will discover my story, my secrets and, of course, my most beloved city: #Trieste.

    Off we go!

    https://www.arcgis.com/apps/MapJournal/index.html?appid=f9cde83f4b174bc48cb28a82566d2781
    #vent #storytelling #cartographie_narrative #ressources_pédagogiques

    ping @fil @reka @visionscarto

    • El Tram de Opcina

      Sono il Tram di Opčina. Qui a Trieste mi conoscono tutti, di nome e di fama.

      In quei 329 metri di dislivello, in quei 20 minuti di andirivieni fra il mare e il Carso, ho scritto un pezzo di storia. Il mio legno è imbevuto di ricordi: volti ed emozioni cantati dalla bora forte della mia città e incisi per sempre nel mio cuore di ferro.

      https://www.arcgis.com/apps/MapJournal/index.html?appid=c37aa1689a084354838e5456fae0e84b

      #tram #Opcina

    • Projets cartographiques signalés dans cet article, paru dans la revue J-Reading:
      Cultural heritage and storytelling: didactic applications in Trieste with ESRI Story Maps

      New mapping technologies available in the cloud computing era are the current challenge for a narrative geography of cultural heritage. The concept of digital storytelling has become reality due to existing webGIS applications. Using available web templates (such as ESRI Story Maps), users can mix narrative text, multimedia content (photos, video, etc.) and interactive web maps without strong GIS or web development skills. Therefore, they are also powerful tools in teaching and learning geography. This paper presents the main results of a didactic experience at the Department of Humanities, University of Trieste (Italy). As a part of this activity, students were given a theoretical framework of the role played by geographical narration to promote cultural heritage. They also had practical experience on GIS and webGIS (namely on ESRI Story Map). Using these skills, students autonomously created different examples of territorial storytelling. For this paper, two storymaps were chosen: the first focuses on the geographical features, legendary and urban impacts of the Bora wind (storymap available at: https://arcg.is/14bDSz); the second is about the troubled history of a fascinating vehicle, the “Tram of Opicina” (storymap available at: https://arcg.is/0DHbje), a tramway line built at the beginning of the last century that connects the town of Trieste and the village of Opicina.

      http://www.j-reading.org/index.php/geography/article/view/277/258

      téléchargeable en pdf ici:
      http://www.j-reading.org/index.php/geography/article/view/277/258

  • comeetie, bienvenue chez moi :)
    https://www.comeetie.fr/#portfolio


    De bien belles ressources #carto

    Je suis chargé de recherche à l’Institut Français des Sciences et Technologies des Transports de l’Aménagement et des Réseaux (IFSTTAR) et je travail principalement sur l’application d’outils de type reconnaissances des formes sur des problèmes de #transports. Je partage ici des informations sur mes travaux scientifique et autres.

  • Titanic - Das ahnungslose Porträt
    https://www.titanic-magazin.de/news/das-ahnungslose-portrait-32-12131

    Tucholsky - Die Beamtenpest
    https://www.textlog.de/tucholsky-beamtenpest-i.html

    Man sollte nun annehmen, dass die kleinern Staaten so denken:

    So groß wie Rußland sind wir nicht; so volkreich wie Deutschland sind wir nicht; so mächtig wie England sind wir nicht – also treten wir auf einem Gebiet an, auf dem uns niemand schlagen kann: nämlich auf dem des friedlichen Wettbewerbs der Kultur. Aber davon ist keine Rede.

    Das starrt von Waffen; das starrt von Imperialismus, von dummen und nichtigen Minoritätsfragen, deshalb dumm und nichtig, weil die aufgewendete Energie meist in gar keinem Verhältnis zur Bedeutung dieser Minderheiten steht, es sind oft weniger Prätentionen von Völkern als solche ehrgeiziger Sekretäre; das erlaubt sich Rechtsbrüche genau wie die großen; das stabilisiert die Macht der legalen Polizei-Illegalitäten genau wie die großen; das rast gegen Fremde genau wie die großen – kurz: die ganze Klasse mauschelt schon.

    Sie äffen die Großen, und wenn die sich lausen, lausen sie sich auch. Sie haben ihre ›Geschichte‹, und wenn sie sie erst konstruieren mußten, so haben sie sie konstruiert; sie haben ihre ›Traditionen‹, und wenn die erst zehn Jahre alt sind, so riechen sie doch schon, als hätten sie ein Alter von hundert; sie haben ihren Staatsdünkel, ihre Selbstgefälligkeit, ihren Gruppenwahnsinn und ihre eigenstaatlichen ›Belange‹ wie die großen. Sie haben überhaupt alles. Nur eins haben sie nicht.

    Es fehlt ihnen völlig die Existenzberechtigung. Man weiß gar nicht, wozu das da ist. Der Föderalismus ist nicht abzulehnen – diese Staaten-Spielerei ist abzulehnen.
    ...
    Ignaz Wrobel Die Weltbühne, 23.10.1928, Nr. 43, S. 624.

    #parodie #politique #éducation #cartographie #Europe #Baltikum #pays_baltes

  • L’esprit d’escalier : livre numérique et jeu de cartes de Pierre Ménard. Fugue à deux voix et multiples combinaisons

    http://www.liminaire.fr/liminaire/article/l-esprit-d-escalier

    Fugue à deux voix et multiples combinaisons

    L’esprit d’escalier est un livre numérique publié en 2020 par La Marelle éditions.

    Il est disponible au prix de 4,99 € sur le site de La Marelle.
    Le texte se présente également sous la forme d’un jeu de cartes disponible au prix de 18 € (version numérique et frais de port inclus) sur la librairie en ligne Heures indues

    #Lectures, #Marseille, #Écriture, #Poésie, #Récit, #Voix, #Cartes, #Numérique, #Combinatoire, #Dérive, #Escaliers, #Sensation, #Amour

  • Le Conseil d’Etat juge illégal le recours à la « technique des nasses » par les forces de l’ordre lors des manifestations
    https://www.lemonde.fr/police-justice/article/2021/06/10/le-conseil-d-etat-juge-illegal-le-recours-a-la-technique-des-nasses-par-les-

    Le Conseil d’Etat a annulé, jeudi 10 juin, quatre dispositions phares du schéma national de maintien de l’ordre sur lequel il avait été saisi par plusieurs syndicats et associations. Parmi elles, la très sensible « technique des nasses », utilisées pour encercler des groupes de manifestants. —« Si cette technique peut s’avérer nécessaire dans certaines circonstances précises, elle est susceptible d’affecter significativement la liberté de manifester et de porter atteinte à la liberté d’aller et venir »—, note le Conseil d’Etat dans son communiqué. « Le Conseil d’Etat annule ce point car rien ne garantit que son utilisation soit adaptée, nécessaire et proportionnée aux circonstances », est-il précisé dans le communiqué.

    [...]
    S’agissant de la presse, l’instance considère que les journalistes « n’ont pas à quitter les lieux lorsqu’un attroupement est dispersé » et qu’ils n’ont pas « l’obligation d’obéir aux ordres de dispersion » des forces de l’ordre. « Les journalistes doivent pouvoir continuer d’exercer librement leur mission d’information, même lors de la dispersion d’un attroupement. »

    (...) Concernant la technique de la « nasse », dite de « l’encerclement », le ministère a estimé que le Conseil ne l’interdisait pas mais demandait « que les conditions d’emploi soient précisées ». « Le gouvernement va s’y employer », affirme le ministère.

    (...) A Beauvau, on a relevé que la juridiction administrative précisait en outre que les journalistes « ne devaient pas faire obstacle aux forces de l’ordre ».

    #police #maintien_de_l'ordre

    • Maintien de l’ordre : le désaveu politique du Conseil d’Etat
      https://www.lemonde.fr/police-justice/article/2021/06/11/le-conseil-d-etat-annule-quatre-dispositions-du-schema-national-du-maintien-

      Quatre dispositions du schéma national du maintien de l’ordre ont été annulées par la juridiction. Parmi celles-ci, la pratique de la « nasse », qui consiste à encercler les manifestants, a été jugée jeudi illégale car insuffisamment précise.

      C’est un camouflet pour le ministère de l’intérieur. Dans une décision rendue publique, jeudi 10 juin, le Conseil d’Etat a annulé quatre dispositions majeures du schéma national du maintien de l’ordre (SNMO), la « bible » des forces de sécurité en matière de gestion des manifestations. La réflexion autour de cette nouvelle doctrine, lancée en juin 2019 par Christophe Castaner, alors ministre de l’intérieur, avait été parachevée quinze mois plus tard – avec une année de retard sur le calendrier prévu – le 16 septembre 2020, à l’occasion de la publication d’un document de 29 pages.

      Le texte, aux dires des associations, avait été formalisé « sans réelle concertation ni transparence » dans le but de doter police et gendarmerie de règles d’action communes après des mois d’affrontements avec les « gilets jaunes ». Dès sa parution, il avait été critiqué, notamment en raison de la consécration du recours à des services non spécialisés – brigades anticriminalité, brigades de recherche et d’intervention ou de répression de l’action violente – dans les opérations de maintien de l’ordre, ou de la confirmation d’usage des grenades de désencerclement et des lanceurs de balles de défense (LBD) à l’origine de dizaines de mutilations et de blessures graves, essentiellement entre 2018 et 2019.
      Lire aussi Le ministère de l’intérieur dévoile la nouvelle doctrine du maintien de l’ordre

      Défense de la liberté d’informer
      Les plus vives dénonciations, portées par une quarantaine d’associations dont la Ligue des droits de l’homme (LDH), le Syndicat de la magistrature (SM) ou le Syndicat national des journalistes (SNJ), visaient également des pratiques considérées comme gravement attentatoires aux libertés publiques, parmi lesquelles celle de la « nasse », consistant à encercler des protestataires un temps indéfini, et dont l’usage était devenu quasi systématique en cas de manifestation d’ampleur. Si le SNMO validait son recours « utile, sur le temps juste nécessaire (…) aux fins de contrôle, d’interpellation ou de prévention d’une poursuite des troubles », le Conseil d’Etat a purement et simplement annulé cette disposition en considérant qu’elle n’encadrait pas de manière suffisamment précise les cas dans lesquels il était possible de mettre en œuvre cette technique.
      C’est cependant en matière de défense de la liberté d’informer que la juridiction suprême de l’ordre administratif s’est montrée la plus incisive en rappelant son caractère essentiel à la vie démocratique « en ce qu’elle permet de rendre compte des idées et opinions exprimées et du caractère de cette expression collective ainsi que, le cas échéant, de l’intervention des autorités publiques et des forces de l’ordre ». Et en annulant trois mesures emblématiques relatives au travail des journalistes lors des manifestations.

      Le SNMO prévoyait ainsi que le port d’équipements de sécurité par des reporters soit assorti d’éléments d’identification et n’induise aucune « infraction ou provocation ». Cette obligation aux termes « ambigus et imprécis » ne relève pas, a estimé le Conseil d’Etat, de la compétence du ministre de l’intérieur, auquel il n’appartient pas davantage « d’édicter ce type de règles à l’attention des journalistes comme de toute personne participant ou assistant à une manifestation » .

      Idem en matière d’obligation faite aux journalistes de quitter les lieux d’une manifestation après un ordre de dispersion. Balayant cette injonction, le Conseil d’Etat a jugé la mesure entachée d’illégalité. Aussi, pour « rendre compte des événements qui s’y produisent », les journalistes peuvent-ils « continuer d’exercer librement leur mission lors de la dispersion d’un attroupement sans être tenus de quitter les lieux, dès lors qu’ils se placent de telle sorte qu’ils ne puissent être confondus avec les manifestants et ne fassent obstacle à l’action des forces de l’ordre ».

      Enfin, en réservant aux seuls journalistes « accrédités auprès des autorités » un droit d’accès au canal d’informations dédié des forces de l’ordre lors de manifestations, sans autre forme de précision, le SNMO aurait porté « une atteinte disproportionnée à la liberté de la presse et à la liberté de communication ». La disposition a également été annulée.

      Arrêt jugé trop timide

      Pour les associations, une telle décision apparaissait loin d’être acquise. Au cours de la procédure, le rapporteur public, dont les conclusions préfigurent en règle générale la position du Conseil d’Etat, n’avait, en effet, rien trouvé à redire aux dispositions soumises à l’examen du juge administratif suprême, se bornant à requérir l’annulation des conditions imposées au port d’équipements spéciaux par les journalistes. « Le Conseil d’Etat, se félicite Me Patrice Spinosi, qui intervenait au nom du SNJ et la LDH, a clairement mis un coup d’arrêt à la volonté caractérisée du gouvernement de fragiliser l’indépendance de la presse. Un journaliste n’est pas un manifestant, il est là pour informer. Sans lui, il n’y a plus de regard. »

      Plusieurs associations se montrent toutefois déçues par l’arrêt, jugé trop timide. Eric Mirguet, directeur du pôle programme et plaidoyers de l’Action des chrétiens pour l’abolition de la torture, une ONG partie à la procédure, déplore ainsi « une décision a minima » . L’interdiction des nasses, notamment, « est basée sur la seule liberté de manifester alors que c’est aussi une pratique dangereuse qui peut porter atteinte à l’intégrité physique des personnes qui y sont soumises, qui est indiscriminée en ce qu’elle s’applique à des individus ciblés sur leur seule présence dans un lieu donné et non des actes qu’on leur reprocherait ».

      Parmi d’autres, l’association, qui a publié en mars 2020 un volumineux rapport d’observation sur les conditions du maintien de l’ordre, fruit d’une année de travail sur le terrain, estime que le Conseil d’Etat « a fait le choix de taire ces préoccupations » . Jeudi dans la soirée, le ministère de l’intérieur a fait savoir que « des modifications seront apportées pour permettre d’atteindre les objectifs voulus par le texte, tout en respectant les orientations de la décision rendue par le Conseil d’Etat », qui a validé « la très grande majorité du texte ».

  • Emma Willard’s Maps of Time

    In the 21st-century, infographics are everywhere. In the classroom, in the newspaper, in government reports, these concise visual representations of complicated information have changed the way we imagine our world. Susan Schulten explores the pioneering work of Emma Willard (1787–1870), a leading feminist educator whose innovative maps of time laid the groundwork for the charts and graphics of today.

    We live in an age of visual information. Infographics flood the web, driven by accessible platforms that instantly translate information into a variety of graphic forms. News outlets routinely harvest large data sets like the census and election returns into maps and graphs that profile everything from consumer preferences to the political landscape. The current proliferation of visual information mirrors a similar moment in the early nineteenth century, when the advent of new printing techniques coincided with the rapid expansion of education. Schoolrooms from the Atlantic seaboard to the Mississippi frontier made room for the children of farmers as well as merchants, girls as well as boys. Together, these shifts created a robust and highly competitive market for school materials, including illustrated textbooks, school atlases, and even the new genre of wall maps.

    No individual exploited this publishing opportunity more than Emma Willard, one of the century’s most influential educators. From the 1820s through the Civil War, Willard’s history and geography textbooks exposed an entire generation of students to her deeply patriotic narratives, all of which were studded with innovative and creative pictures of information that sought to translate big data into manageable visual forms.

    When Willard began publishing textbooks in the 1820s, she knew the competition was fierce, full of sharp-elbowed authors who routinely accused one another of plagiarizing ideas and text. To build her brand, she designed cutting-edge graphics that would differentiate her work and catch the attention of the young. Take, for instance, her “Perspective Sketch of the Course of Empire” of 1835.

    By the nineteenth century, timelines had become relatively common, an innovation of the eighteenth century designed to feed growing public interest in ancient as well as modern history. First developed by Jacques Barbeu-Dubourg in the 1750s, early timelines generally charted the lives of individuals on a chronological grid, reflecting the Enlightenment assumption that history could be measured against an absolute scale of time, moving inexorably onward from zero. In 1765, Joseph Priestley drew from calendars, chronologies, and geographies to plot the lives of two thousand men between 1200 BC and 1750 AD in his popular Chart of Biography.

    After Priestley, timelines flourished, but they generally lacked any sense of the dimensionality of time, representing the past as a uniform march from left to right. By contrast, Emma Willard sought to invest chronology with a sense of perspective, presenting the biblical Creation as the apex of a triangle that then flowed forward in time and space toward the viewer. Commenting on her visual framework in 1835, Willard noted that individuals experience the past relative to their own lives, for “events apparently diminish when viewed through the vista of departed years.”1 In “Perspective Sketch of the Course of Empire”, she found striking ways to represent this dimensionality of time. The birth of Christ, for example, is marked with a bright light, marking the end of the first third of human history. The discovery of America separated the second (middle) from the third (modern) stage. Each “civilization” is situated not according to its geography, as on a traditional map, but according to its connection and relation to other civilizations. Some of these societies are permeable, flowing into others, while others, such as China, are firmly demarcated to denote their isolation. By studying this map, students were encouraged to see human history as a rise and fall of civilizations — an “ancestry of nations”.

    Moreover, as time flows forward the stream widens, demonstrating that history became more relevant as it unfolds and approaches the student’s own life. Historical time is not uniform but dimensional. On the one hand, this reflected her sense that time itself had accelerated through the advent of steam and rail. Traditional timelines, she found, were only partially capable of representing change in an era of rapid technological progress. Time was not absolute, but relative. On the other hand, Willard’s approach reflected her own deep nationalism, for it asked students to recognize the emergence of the United States as the culmination of human history and progress.

    Willard aggressively marketed her “Perspective Sketch” to American educators, believing it to be a crucial break with other materials on the market. As she confidently expressed to a friend in 1844, “In history I have invented the map”.3 She also advocated for her “map of time” as a teaching device because she strongly believed the visual preceded the verbal — that information presented to students in graphic terms would facilitate memorization, attaching images to the mind through the eyes.

    Willard’s devotion to visual mnemonics shaped much of her work. In the 1840s, she published another elaborate visual device, named the “Temple of Time”. Here, she attempted to integrate chronology with geography: the stream of time she had charted in the previous decade now occupied the floor of the temple, whose architecture she used to magnify perspective through a visual convention. Centuries — represented by pillars printed with the names of the era’s most prominent statesmen, poets, and warriors —diminished in size as they receded in time, turning the viewer’s attention toward recent history, as in the “Course of Empire”. But in the Temple of Time, the one-point perspective also invited students in to inhabit the past, laying out information in a kind of memory palace that would help them form a larger, coherent picture of world history. Readers, in other words, were invited into the palace, so they too could stand at moments in world history.

    The Temple of Time is complicated, and more than a little contrived. Yet Willard reminds readers that traditional cartography relies on the same basic conceit:

    In a map, great countries made up of plains, mountains, seas, and rivers, are represented by what is altogether unlike them; viz., lines, shades, and letters, on a flat piece of paper; but the divisions of the map enable the mind to comprehend, by proportional space and distance, what is the comparative size of each, and how countries are situated with respect to each other. So this picture made on paper, called a Temple of Time, though unlike duration, represents it by proportional space. It is as scientific and intelligible, to represent time by space, as it is to represent space by space.4

    A map, in other words, is an arrangement of symbols into a system of meaning — and we use maps because we understand the language of signs that undergirds them. If the mapping of space was a human invention, she explained, one could also invent a means of mapping time.

    Willard’s creative efforts to “map time” stemmed from personal experience. Born just after the Revolution, she was part of the first generation of American women to be educated outside the home, and she chafed at the way “female education” kept more than a few areas of knowledge off limits. One of the few subjects considered suitable for both boys and girls in that era was geography, yet Willard remembered with frustration the degree to which her textbooks lacked maps. It makes sense, then, that as a young teacher in the 1810s Willard became passionate about having her pupils draw maps — not copying them (a common practice in schools for young women at the time) but rather reproducing them in rough terms from memory to demonstrate a grasp of geographical relationships.

    Willard’s own artistic creativity as a mapmaker was evident from the start. Her first textbook — a geography written with William Woodbridge and published in 1824 — includes a metaphorical map of the Amazon River and its tributaries which illustrates the evolution of the Roman Empire. (One can see in this early effort the prototype for her elaborate “Perspective Sketch” of the 1830s.)

    Willard’s creativity as an educator was equally immense. In 1819 she published a plan to publicly fund the improvement of female education, which met with more than a little resistance. Two years later, she began to implement this vision by founding the Troy Female Seminary in New York—an institution that quickly became a preeminent school for future teachers and one of the most highly regarded schools for women in the country. At Troy, Willard assumed that females were capable of studying the same subjects as their male counterparts and incorporated “masculine studies”, such as science and history, into the curriculum. Her administration of Troy, and her intensive teaching in the decade prior to and after its foundation, convinced her of the multiple failures of contemporary pedagogy and textbooks.

    In 1828, Willard issued the first edition of her History of the United States, or The Republic of America, a textbook so popular it would remain in print until the 1860s. One key element of the book’s success was the atlas that accompanied the text — a series of maps of the eastern US that Willard designed and executed with a former female student. In this series, each map marked particular moments or eras that either led toward or resulted from nationhood, including the landing on Plymouth Rock, the Treaty of Paris, or the late War of 1812 against Britain. Perhaps the most remarkable of these was the “introductory map”, which identified indigenous tribes through a series of geographic migrations, collapsing centuries of movement into a single image. In naming this the “introductory” map, however, Willard situated Native Americans in a prehistorical era antedating the ostensibly more significant events of European settlement. The single image she created was innovative and powerful, but it also rendered the violence of Native displacement as an inevitable prelude that gave way to the real drama of colonialism and the inevitable realization of national independence.

    Willard’s commitment to creative cartography, combined with her nationalism, inspired her to create a simplified American Temple of Time in the late 1840s, which revealed a firm belief in Manifest Destiny: the providential progression from the European discovery of North America in the fifteenth century to a continental empire in the present. The concept of the American Temple was interactive, framing the chronological and geographical outlines of American history to aid memorization. Students were to identify the eight geographical entities that made up the continental United States: the original thirteen colonies, New France, the Northwest Territory, Louisiana, Florida, Texas, Oregon, and the area ceded by Mexico in the 1848 treaty that ended the Mexican–American War. Students were then instructed to locate each state and territory in time by shading its existence as it became part of the country (shading the colonies as they were settled, and the states as they joined the union). If the Temple were drawn large enough, there would also be enough space along the “floor” to identify important battles. The design is complex and unwieldy, but the goal is intriguing: an interactive exercise for students to integrate history and geography in order to understand how the past had—quite literally—taken place.

    Willard’s final contribution to visual knowledge was perhaps the most straightforward, a “Tree of Time” that presented American history as a coherent, organic whole. There is, of course, a long tradition of presenting time as a tree (family trees being the most enduring), but Willard used the image not to represent ancestors as trunks and descendants as branches, but — rather oddly — to represent time arcing from left to right, like a timeline. She was so fond of the Tree of Time she used it to introduce all subsequent editions of her popular textbook History of the United States and even issued it on a much larger scale to be hung in classrooms.

    Like the Temple, the Tree presented an encompassing history of the nation that reached back past 1789 to 1492. All of North America’s colonial history merely formed the backstory to the preordained rise of the United States. The tree also strengthened a sense of coherence, organizing the chaotic past into a series of branches that spelled out the national meaning of the past. Above all, the Tree of Time conveyed to students a sense that history moved in a meaningful direction. Imperialism, dispossession, and violence was translated, in Willard’s representation, into a peaceful and unified picture of American progress.

    Ironically, it was the cataclysms of the Civil War that challenged Willard’s harmonious picture of history in the Tree of Time. In the 1844 edition of the Tree, President Harrison’s death marched the last branch of history. Twenty years later, Willard added a new branch marking the end of the US war against Mexico and the subsequent Compromise of 1850, seismic events which both raised and temporarily settled the sectional divisions over slavery. Even though the Civil War was well underway by the time she issued her last edition of tree, she marked the last branch as “1860”, with no mention of the bloody conflict that had engulfed the entire nation. Her accompanying narrative in Republic of America brought American history to the brink of war, but no further. Willard had come up against history itself.

    https://publicdomainreview.org/essay/emma-willard-maps-of-time

    #Emma_Willard #cartographie_historique #cartographie #peuples_autochtones #infographie #femme_géographe #femme_cartographe

    voir aussi :
    https://seenthis.net/messages/917835

    –-

    ajouté au fil de discussion sur les femmes géographes :
    https://seenthis.net/messages/662774

    ping @visionscarto @reka

  • Clouds of Unknowing : Edward Quin’s Historical Atlas (1830)

    “Now when I was a little chap I had a passion for maps”, says the seafaring raconteur #Charles_Marlow in Joseph Conrad’s Heart of Darkness (1899) (https://www.gutenberg.org/files/219/219-h/219-h.htm). “At that time there were many blank spaces on the earth, and when I saw one that looked particularly inviting on a map (but they all look that) I would put my finger on it and say, ’When I grow up I will go there.’” Of course, these “blank spaces” were anything but. The no-man’s-lands that colonial explorers like #Marlow found most inviting (the Congo River basin, #Tasmania, the #Andaman_Islands) were, in fact, richly populated, and faced devastating consequences in the name of imperial expansion.

    In the same troublesome vein as Marlow, Edward Quin’s Historical Atlas painted cartographic knowledge as a candle coruscating against the void of ignorance, represented in his unique vision by a broiling mass of black cloud. Each map represents the bounds of geographical learning at a particular point in history, from a specific civilizational perspective, beginning with Eden, circa “B.C. 2348”. In the next map titled “B.C. 1491. The Exodus of the Israelites”, Armenia, Assyria, Arabia, Aram, and Egypt form an island of light, pushing back the black clouds of unknowing. As history progresses — through various Roman dynasties, the reign of Charlemagne, and the Crusades — the foul weather retreats further. In the map titled “A.D. 1498. The Discovery of America”, the transatlantic exploits of the so-called Age of Discovery force Quin to employ a shift in scale — the luminescence of his globe now extends to include Africa and most of Asia, but North America hides behind cumulus clouds, with its “unnamed” eastern shores peeking out from beneath a storm of oblivion. In the Atlas’ last map, we find a world without darkness, not a trace of cloud. Instead, unexplored territories stretch out in the pale brown of vellum parchment, demarcating “barbarous and uncivilized countries”, as if the hinterlands of Africa and Canada are awaiting colonial inscription.

    Not much is known about Edward Quin, the Oxford graduate, London barrister, and amateur cartographer whose Atlas was published two years after his death at the age of thirty-four. We learn, thanks to Walter Goffart’s research into historical atlases, that Quin’s images were more popular than his words. The well-regarded cartographer William Hughes rescaled the maps for a new edition in 1846, discarding their artist’s accompanying text. The Atlas’ enduring technical advancement, which influenced subsequent cartographers, can be found in its ingenious use of negative space. Emma Willard’s Atlas to Accompany a System of Universal History, for instance, features cloudy borders that seem very much indebted to Quin.

    Looking back from a contemporary vantage, the Historical Atlas remains memorable for what is not shown. Quin’s cartography inadvertently visualizes the ideology of empire: a geographic chauvinism that had little respect for the knowledge of those beyond imperial borders. And aside from depicting the reach of Kublai Khan, his focus remains narrowly European and Judeo-Christian. While Quin strives for accuracy, he admits to programmatic omission. “The colours we have used being generally meant to point out and distinguish one state or empire from another. . . were obviously inapplicable to deserts peopled by tribes having no settled form of government, or political existence, or known territorial limits”. Instead of representing these groups, Quin, like his clouds, has erased them from view.

    https://publicdomainreview.org/collection/edward-quin-historical-atlas
    #cartographie_historique #cartographie #connu #inconnu #géographie_du_vide #vide #histoire #Tasmanie #fleuve_Congo #colonisation #colonialisme #Edward_Quin #atlas

    ping @reka @visionscarto

    via @isskein

  • Mystery plans to redraw Balkan borders alarm leaders

    “Changing borders would mean opening Pandora’s box,” says Valentin Inzko.

    As international High Representative in Bosnia-Herzegovina his job is to keep the peace, which has endured since the Dayton Peace Agreement brought conflict to an end in 1995, after almost four years of fighting that cost around 100,000 lives.

    The cause of his consternation was a pair of unofficial documents suggesting some of the borders in the Balkans should be redrawn. The so-called #non-papers made the rounds in diplomatic circles, before being picked up by media in the Western Balkans.

    As far as Bosnia is concerned, its high representative is not about to entertain suggestions that the answer to its ongoing dysfunctionality would be to redraw its national boundaries.

    “If somebody likes to think about changing borders, he should first visit all military graves from France to Stalingrad,” he warns.

    The documents did not carry an author’s name. That’s in keeping with the unofficial nature of a non-paper, but the contents caused outrage across the region.

    Among their suggestions were:

    - A “peaceful dissolution” of Bosnia-Herzegovina, with Serbia and Croatia annexing much of its territory
    - Unification of Kosovo and Albania
    - The creation of an autonomous, majority ethnic-Serb region in northern Kosovo.

    It reads very much like an ethno-nationalist wish-list from the 1990s. And everyone remembers how that unfolded at the time.

    “People are worried. One of my employees was crying, she was really worried about these maps”
    Valentin Inzko, High Representative in Bosnia and Herzegovina

    “We are making a mistake if we think that frozen conflicts remain frozen forever,” says Mr Inzko. “You have seen in Nagorno-Karabakh and Palestine - frozen conflicts can break out at any time. This could also be the case in Bosnia and Herzegovina.”

    The non-papers affair has turned into a diplomatic whodunnit.

    Few people have had anything to say in support of the ideas they contain - except Bosnia’s senior ethnic-Serb politician, Milorad Dodik, who never misses a chance to push the idea of secession for the country’s majority ethnic-Serb region. Under the Dayton accords, the country was divided into a Bosniak-Croat Federation and Bosnian Serb Republic (Republika Srpska).

    - The town where neighbours won’t share a coffee
    - Land swap could bridge divide for Serbia and Kosovo
    - Capturing the Balkans 25 years after peace deal
    - Bosnia-Herzegovina: Country profile

    But the non-papers may not be the work of self-serving ultranationalists. Slovenia had to fight off suggestions that it was circulating the first document. And media in Kosovo described the second non-paper as a “Franco-German” proposal.

    James Ker-Lindsay, a Balkans expert at the London School of Economics, says “blue-sky thinking” is one way for European leaders to tackle the region’s seemingly intractable issues.

    “We can’t deny there are problems in the Western Balkans. There are two significant issues which have got to be resolved: the dispute between Serbia and Kosovo over Kosovo’s independence - and the deep-seated political dysfunctionality that exists in Bosnia.”

    “This has vexed policymakers for the last 15 years in both cases. So the idea that we would be looking at trying to come up with new approaches to this isn’t particularly unusual”
    James Ker-Lindsay, Balkans expert, LSE

    Nonetheless, Slovenia attempted to consign the non-papers to the waste bin at a meeting of regional leaders it hosted earlier this month. It proposed a declaration affirming the inviolability of current borders.

    But Serbia refused. President Aleksandar Vucic said his country recognised “the borders determined by the UN charter”. In other words, he was not about to sign a document that could be construed as recognition of Kosovo’s independence.

    After meeting Mr Vucic in Slovenia, Kosovo’s president, Vjosa Osmani, told the BBC that she was convinced Belgrade was behind the non-papers.

    “I had no doubts from the very beginning - it’s enough to just read the contents and to see what these non-papers try to push forward. The idea of border redrawing as something that could achieve peace in the region, when in fact it’s the opposite.”

    “If there is one thing the entire political spectrum in #Kosovo agrees on, it’s that border redrawing is completely unacceptable”
    Vjosa Osmani, Kosovo president

    Naturally, Serbia denies all knowledge and James Ker-Lindsay notes that there are “all sorts of confusion and conspiracy theories kicking in”.

    But with the end of his 12-year stint as high representative approaching, Valentin Inzko simply wants everyone to accept the borders as they are and focus on eventually coming together in the European Union.

    “The better idea would be to follow the example of Tyrol - one part is in Italy, another in Austria. But it is one region, with four freedoms and one currency.”

    But EU membership for Western Balkans countries will remain out of reach for years. And that means many more non-papers, whether mischievous or constructive, are bound to be written.

    https://www.bbc.co.uk/news/world-europe-57251677
    #projet #frontières #Balkans #cartes #différents_frontaliers #Bosnie #Bosnie-Herzégovine #Croatie #Serbie #Albanie #conflits #Milorad_Dodik #Republika_Srpska #République_serbe_de_Bosnie #nationalisme #paix

    ping @reka

  • Une #application pour collecter les #chants_d’oiseaux

    Une telle appli, financée par des fonds publics, n’est pas destinée à amuser les citadins qui s’ennuient : elle sert avant tout la science et la cause environnementale. Dessiner une #carte sonore mondiale des chants d’#oiseaux revient à constituer une base de données inédite, qui permettra bientôt à des algorithmes d’identifier les espèces d’oiseaux et d’évaluer, selon les chants et le moment de la journée, la santé des #écosystèmes. L’appli « Dawn Chorus » permet ainsi non seulement d’éduquer son oreille et d’entendre des centaines de sortes de gazouillis, mais aussi de collecter des données pour la science.

    https://www.francemusique.fr/emissions/musique-connectee/une-application-pour-collecter-les-chants-d-oiseaux-95283

    https://media.radiofrance-podcast.net/podcast09/19527-25.05.2021-ITEMA_22679342-2021M33146S0145.mp3

    #ornithologie #radio #podcast #chronique

  • Littérature numérique – Un site cartographie l’archipel saisissant d’#Italo_Calvino | 24 heures
    https://www.24heures.ch/un-site-cartographie-larchipel-saisissant-ditalo-calvino-168760427968

    Le voyage littéraire dont il est ici question débute en 1943, avec quelques écrits timides qu’on pourrait considérer comme autant de préludes à une première œuvre consistante : « Le Sentier des nids d’araignées ». Le périple se prolonge quarante-deux ans durant et à l’arrivée, 200 textes plus loin, une boucle s’achève avec la dernière signature d’Italo Calvino, posée sur « Un Roi à l’écoute », texte qui charpente une pièce musicale de Luciano Berio. Entre ses deux extrémités, le corpus de l’écrivain italien ressemble à un archipel saisissant où on croise des atolls et des îlots de toutes sortes. Les plus populaires sont connus sous nos latitudes aussi : la trilogie formée par « Le Vicomte pourfendu », « Le Baron perché » et « Le Chevalier inexistant » demeure aujourd’hui encore une borne lumineuse.

    #cartographie #littérature

    • #Atlante_Calvino

      Oggi Italo #Calvino avrebbe quasi cento anni. E di fronte alle profonde trasformazioni a cui la letteratura, la stampa, i mezzi di comunicazione e la ricerca stanno assistendo non sarebbe rimasto chiuso a difendere la cittadella umanistica assediata. Sarebbe uscito a vedere.

      La letteratura come l’ha pensata, praticata e modellata Calvino tra gli anni Quaranta e gli anni Ottanta del secolo scorso aveva soprattutto un fine: quello di tenere la mente aperta. Renderla abbastanza elastica non certo da capire tutta la complessità del mondo, ma almeno da misurarla. E trarne qualche conseguenza: la prima di queste è che abbiamo bisogno di storie, perché la nostra mente non si limiti a riprodurre se stessa, ma attraverso la narrazione si trasformi in un grande laboratorio di possibilità. Aperto al futuro, grazie alla molteplicità di sguardi con cui partecipa alla costruzione del passato.

      Il progetto finanziato dal Fondo Nazionale Svizzero e intitolato Atlante Calvino: letteratura e visualizzazione ha scommesso sulla critica letteraria come esercizio intellettuale di apertura mentale e sperimentazione. Per tre anni (2017-2020) il progetto ha messo in contatto un’équipe letteraria dell’Unité d’italien dell’Université de Genève e il laboratorio di ricerca DensityDesign del Politecnico di Milano, specializzato in progetti di Digital Humanities e Data Visualization, con la collaborazione della casa editrice Mondadori, che detiene i diritti italiani dell’intera opera di Calvino.

      Le due anime del progetto, quella letteraria e quella del design dell’informazione, sono state chiamate a mescolarsi per trovare soluzioni efficaci e innovative intorno al caso esemplare dell’opera di Calvino: l’opportunità di mettere in contatto un oggetto letterario e analisi di sistemi complessi condotta tramite la visualizzazione è l’obiettivo principale di questa ricerca. Nato a Santiago de Las Vegas nel 1923 e morto a Siena nel 1985, Italo Calvino è uno dei più noti e studiati scrittori della letteratura italiana contemporanea. La statura internazionale della sua fama, insieme alla bibliografia critica ormai sterminata che lo riguarda e alla varietà sperimentale delle sue opere, lo rende un modello perfetto per una ricerca fondata sul contributo scientifico che la visualizzazione dei dati può fornire agli studi letterari.

      Il risultato del progetto è la piattaforma web in cui vi trovate, che offre la possibilità di esplorare l’opera narrativa dello scrittore da un nuovo punto di vista: vale a dire attraverso un certo numero di elaborazioni visuali, che corrispondono ad altrettante interrogazioni letterarie rivolte al corpus dei testi calviniani. L’unione tra la figura di un autore fondamentale della letteratura del XX secolo e un metodo di studio innovativo ambisce a offrire un valido esempio di ricerca nel campo delle Digital Humanities di seconda generazione, che contribuisca all’attuale esigenza di rinnovamento delle discipline letterarie. La qualità scientifica del progetto si sforza di combinarsi, in questo senso, con le sue qualità pedagogiche, estetiche e comunicative, al fine di proporre una nuova “narrazione visuale” dell’autore.

      https://atlantecalvino.unige.ch
      #visualisation #infographie

  • La France connaîtra la sécheresse cet été
    https://reporterre.net/La-France-connaitra-la-secheresse-cet-ete

    Selon une carte prévisionnelle publiée le 18 mai par le ministère de la Transition écologique, quatre-vingts départements sont concernés par un risque de #sécheresse cet été. Seuls une partie de la Normandie, l’Île-de-France et les Hauts-de-France pourraient y échapper.

    #prévisions #météo

  • Who owns Australia? | Australia news | The Guardian
    https://www.theguardian.com/australia-news/ng-interactive/2021/may/17/who-owns-australia

    Who owns the Australian outback is a vexed question. The true answer is First Nations peoples, whose ownership stems back 60,000 years. The legal answer is more complex. It’s a mess of titles – freehold, pastoral leases, crown leases, public land, native title and land held by Aboriginal trusts.

    And no two jurisdictions store or share that data in the same way.

    #Australie #foncier #terres #cartographie

  • « Nos données personnelles valent de l’or ! » - Cash Investigation
    https://www.francetvinfo.fr/replay-magazine/france-2/cash-investigation/cash-investigation-du-jeudi-20-mai-2021_4605401.html

    Pour ce nouveau numéro, l’enquête a commencé par l’appel téléphonique d’un inconnu qui a alerté la journaliste Elise Lucet : il a trouvé son numéro de téléphone mobile en vente pour soixante centimes sur un site internet américain ! Avoir son numéro de téléphone vendu sans son autorisation sur une base de données, c’est illégal. Pourtant, cela touche des centaines de millions de personnes à travers le monde. Des entreprises appelées des « #data_brokers » vendent les données de consommateurs qui deviendront les destinataires de publicités ciblées. Un marché colossal estimé à 400 milliards d’euros en Europe !

    « Cash » révèle comment un téléphone espionne son utilisateur, comment des données très personnelles sur sa religion, sa grossesse ou son moral sont envoyées sans son consentement à des partenaires commerciaux. Par exemple, lors d’une connexion sur le site de santé #Doctissimo, des informations sont transmises à l’insu de l’utilisateur et elles vont ensuite être envoyées à des entreprises appelées des « data brokers » qui vendent ces données de consommateurs pour des publicités ciblées. Un marché colossal estimé à 400 milliards d’euros en Europe !

    Quarante millions de Français seraient pistés

    Très difficile d’échapper à ces nouveaux courtiers de données, même en éteignant le téléphone mobile ou l’ordinateur… La journaliste Linda Bendali a découvert que ces « data brokers » ont trouvé un autre moyen pour récupérer ce nouvel or noir : la carte Vitale ! Dans la moitié des pharmacies françaises, les informations sur les médicaments achetés par les consommateurs sont transmises à la société IQVIA, le plus gros « data broker » de données médicales au monde. Sans le savoir, quarante millions de Français seraient ainsi pistés.

    Rien n’échappe aux marchands de données, même les pensées de tout un chacun qu’ils veulent désormais prédire. Cela s’appelle le « profilage prédictif ». En quelques années, la montre de sport est par exemple devenue un accessoire indispensable pour ceux qui veulent se maintenir en forme. Mais ces bracelets connectés qui enregistrent la fréquence cardiaque, les calories dépensées, la qualité du sommeil... pourraient aussi permettre de cerner la personnalité de son propriétaire !

    combien de clients vont aller voir leur pharmacien pour demander à ce que leurs données soient pas transmises à IQVIA ?

    ping @touti

    #données #données_de_santé #carte_vitale #pharmacies #hôpital #Cnil #IQVIA #Health_Data_Center #RGPD

  • #Atlas du conflit israélo-arabe

    L’Atlas du conflit israélo-arabe de l’Institut Truman rédigé par #Shaul_Arieli est un outil qui présente le territoire disputé par les deux parties et l’histoire de la géographie de ce #conflit au travers des #cartes et des plans de partage qui depuis plus d’un siècle ont été envisagés pour le résoudre. Il montre qu’il est encore possible, si chacun accepte de renoncer à une part de ses revendications sur ce territoire disputé et de reconnaitre la légitimité de l’autre, d’arriver à un compromis pour créer deux États sur la Terre d’Israël/Palestine.


    https://fr.jcall.eu/atlas-du-conflit-israelo-arabe

    –-> signalé ici pour archivage...

    #Israël #Palestine #cartographie

    ping @reka @nepthys

  • Intéressante question à laquelle #Google / #Apple ne répondent pas vraiment : pourquoi les cartes de #Gaza sont floues sur #GoogleMaps ?
    https://www.bbc.com/news/57102499


    L’article souligne combien les images précises ont permis d’alerter sur les situations des Rohingyas et des Uighurs.
    Il est à craindre un vraisemblable choix politico-commercial nauséabond...
    #GAFA #Israel #Palestine

    • It’s an issue that has been highlighted by researchers using open-source, publicly available information - including mapping data - to locate attacks and document the destruction.

      “The fact that we don’t get high-resolution satellite images from Israel and Palestinian territories sets us back,” says Samir, an open-source investigator.

      In fact, much of both Israel and the Palestinian territories appear on Google Earth as low-resolution satellite imagery, even though higher-quality images are available from satellite companies.

      It’s barely possible to see the cars in Gaza City.

      Compare that with Pyongyang, the secretive capital of North Korea, where the cars are sharply defined and it’s possible to make out individual people.

      Why is satellite imagery important?

      The use of satellite images has become a vital element in the reporting of conflict.

      But the availability of detailed images can also compromise military security.

      In the latest Middle East confrontation, investigators are looking to corroborate the locations of missile fire and targeted buildings in Gaza and Israel, using satellites.

      However, on Google Earth, the most widely used image platform, the most recent imagery for Gaza is of low resolution and therefore blurry.

      “The most recent Google Earth image is from 2016 and looks like trash. I zoomed in on some random rural area of Syria and it has had 20+ images taken since that time, in very high resolution,” tweeted Aric Toler, a journalist for Bellingcat.

      Google says its aim is to “keep densely populated places refreshed on a regular basis” but this hasn’t been the case with Gaza.
      Are high-resolution images available?

      Until last year, the US government had placed a restriction on the quality of satellite images of Israel and the Palestinian territories that American companies were permitted to provide on a commercial basis.

      This restriction was written into the Kyl-Bingaman Amendment (KBA) - US legislation dating back to 1997 - in support of Israeli security concerns.

      “We would always prefer to be photographed at the lowest resolution possible. It’s always preferable to be seen blurred, rather than precisely,” said Amnon Harari, head of space programmes at Israel’s Defence Ministry last year, reported by Reuters.

      Under the KBA, US satellite image providers were allowed to offer lower-resolution pictures with a pixel size of no less than 2m (6ft 6in, making an object the size of a car just about visible, but no smaller).

      It’s not uncommon that sites such as military bases have been blurred - but the KBA was the only case of an entire country being subject to such a restriction.

      The law mentioned only Israel, but it was also applied to the Palestinian territories.

      However, once non-US providers, such as French company Airbus, were able to supply these images at a higher resolution, the US came under increasing pressure to end its restrictions.

      In July 2020, the KBA was dropped, and now the US government allows American companies to provide far higher-quality images of the region (each pixel can now be as small as 40cm, so that objects the size of a person could be readily picked out).

      The initial motivation was scientific," says Michael Fradley, an archaeologist at the University of Oxford and one of the academics who successfully campaigned for the amendment to be changed.

      “We wanted to have a consistent data source to work with in our project, so we needed access to high resolution over the Occupied Palestinian Territories comparable to what we use over other parts of the region.”
      So why is Gaza still blurry?

      The BBC spoke to Google and Apple (whose mapping apps also show satellite images).

      Apple said it was working to update its maps soon to a higher resolution of 40cm.

      Google told us that its images come from a range of providers and it considers “opportunities to refresh [its] satellite imagery as higher-resolution imagery becomes available”. But it added that it had “no plans to share at this time”.

    • “Considering the importance of current events, I see no reason why commercial imagery of this area should continue to be deliberately degraded,” said Nick Waters, an open-source investigator for Bellingcat on Twitter.
      Who actually takes the images?

      Public mapping platforms, such as Google Earth and Apple Maps, rely on companies that own satellites to supply imagery.

      Maxar and Planet Labs, two of the largest, are now making available high-resolution images of Israel and Gaza.

      “As a result of recent changes to US regulations, the imagery of Israel and Gaza is being provided at 0.4m (40cm) resolution,” Maxar said in a statement.

      Planet Labs confirmed to the BBC it supplies imagery at 50cm resolution.

      Open-source investigators, however, rely heavily on the free-to-use mapping software and don’t often have direct access to these high-resolution images.
      What else can high-resolution imagery reveal?

      Satellite imagery is used for many purposes, including tracking deforestation and forest fires, as well as investigating human rights abuses around the world.

      Researchers at Human Rights Watch teamed up with satellite providers Planet Labs in 2017 to show the destruction of Rohingya villages by the military in Myanmar.
      The imagery enabled them to map the extent of damage to more than 200 villages in the area, by comparing 40cm-resolution satellite imagery of these areas from before and after.

      The evidence appeared to corroborate claims from Rohingya, who had fled Myanmar to neighbouring Bangladesh, that their homes had been targeted by the military.

      Satellite imagery has also been vital in tracking what’s been happening in the Xinjiang region of China, including the network of “re-education” centres set up there for the Uyghurs.
      The information has helped to show where these facilities have been built, and high-resolution images have also given an idea of their size and particular features.

  • Double meurtre dans les Cévennes : comment des gendarmes #cartographes participent aux recherches

    Ou la gendarmerie cartographique

    https://www.francetvinfo.fr/faits-divers/double-meurtre-dans-les-cevennes-comment-des-gendarmes-cartographes-par

    « Ce qui nous intéresse, ce sont les habitations qui sont un peu disséminées partout, habitables ou en ruines, les points d’intérêt où une personne serait susceptible de se cacher, les cours d’eau, les petits sentiers qui ont été créés récemment. »
    Gilles, gendarme cartographe

    à franceinfo

    Les clichés pris depuis l’hélicoptère, une fois traités, permettent d’obtenir des images orthophotographiques de la zone couverte et de mettre à jour les fonds de carte existants aussi souvent que nécesaire. « Tout ça associé, on va pouvoir faire un plan extrêmement précis et pouvoir organiser nos recherches en en fonction », explique Gilles.

    Le travail de cartographie de crise permet ainsi de repérer des détails qui n’apparaissent pas sur les cartes classiques et sur les images satellites existantes, et de révéler tout changement : effondrement, éboulement ou chemin caché. Une aide efficiente dans cette chasse à l’homme.

    #cartographie #police et nouveau terme (pour moi dans ce contexte #cartographie_de_crise