#cartographie_historique

« La Moisel » du Cameroun : Une carte comme trésor de guerre
▻https://visionscarto.net/carte-de-moisel

« La Moisel » est l’expression générique employée par les géographes au Cameroun pour désigner les cartes élaborées par le cartographe allemand Max Moisel (1869-1920) au début du XXe siècle. Ces cartes mêlant des éléments de topographie, d’hydrographie, de climatologie ainsi que des considérations socio-économiques sur le peuplement ou la circulation à petite échelle sont longtemps restées sans équivalent. Lorsque les troupes françaises, britanniques et belges ont attaqué le protectorat allemand du Kamerun en (...) #Billets

L’histoire à la carte

Fascinantes #cartes_anciennes, portulans, atlas et planisphères… Quand les Anciens abattent leurs cartes et les cartographes prennent le large, c’est une aventure, celle de la Société de Géographie ou celle des cartographes de l’#imaginaire. Allez, hissez haut !

▻https://www.franceculture.fr/emissions/serie/l-histoire-a-la-carte
#cartes #cartographie #histoire #cartographie_historique #narration

via @karine4
ping @visionscarto

Habitability map of Australia, 1946.

https://i.imgur.com/L2nPDwr.jpg

#extractivisme #useless #Australie #colonisation #colonialisme #exploitation #cartographie #visualisation #cartographie_historique #habitabilité #géographie_du_plein #géographie_du_vide
#ressources_pédagogiques

via @odilon et @fil

@visionscarto

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.

https://the-public-domain-review.imgix.net/essays/emma-willard-maps-of-time/13233002-edit-small-zoom.jpg?fit=max&w=1200&h=850#.jpg

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.

https://the-public-domain-review.imgix.net/essays/emma-willard-maps-of-time/4545001-edit-small-4.jpg?fit=max&w=1200&h=850#.jpg

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”.

https://the-public-domain-review.imgix.net/essays/emma-willard-maps-of-time/4545001-edit-small-zoom.jpg?fit=max&w=1200&h=850#.jpg

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.

https://the-public-domain-review.imgix.net/essays/emma-willard-maps-of-time/13233002-edit-small-2.jpg?fit=max&w=1200&h=850#.jpg

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.)

https://the-public-domain-review.imgix.net/essays/emma-willard-maps-of-time/4372005-edit.jpg?fit=max&w=1200&h=850#.jpg

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.

https://the-public-domain-review.imgix.net/essays/emma-willard-maps-of-time/ca000003-edit.jpg?fit=max&w=1200&h=850#.jpg

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.

https://the-public-domain-review.imgix.net/essays/emma-willard-maps-of-time/Schulten_chp1_American_Temple-edit.jpg?fit=max&w=1200&h=850#.jpg

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.

https://the-public-domain-review.imgix.net/essays/emma-willard-maps-of-time/6700000-edit.jpg?fit=max&w=1200&h=850#.jpg

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)

https://the-public-domain-review.imgix.net/collections/edward-quin-historical-atlas/quin-thumb.jpg

“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

Du colonialisme italien
#métaliste, évidemment non exhaustive, d’infos publiées sur seenthis concernant le #colonialisme_italien

#Italie #colonisation #colonialisme #histoire #mémoire #Italie_coloniale

Digital Maps of the Ancient World

https://i.imgur.com/NMHTndj.png

#cartographie #cartographie_historique #antiquité #digitalisation

via @wizo
ping @reka

Storia semiseria della cartografia esattissima delle epidemie, Anno Domini 1690-2020

Le epidemie hanno segnato anche la storia della cartografia, e viceversa: le carte ci raccontano come sono state pensate e quindi affrontate le epidemie. Ci dicono cosa cambia e cosa, ahimè, non cambierà mai. Il primo esempio si deve a Filippo de Arrieta (1): peste, Bari, fine del ‘600.

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/1.png

La carta mostra “li luoghi sospetti” - dove l’epidemia è ancora in corso (intorno Monopoli) o dove è passata (intorno a Bari) - isolati da un “cordone sanitario” di 350 caserme militari e per mare da “Filuche di guardia”. Un altro cordone protegge le province contigue.

Oggi siamo molto più gentili: basta qualche milione di posti di blocco. L’area del contagio è il mondo intero. I confini, di conseguenza, sono ovunque. A breve li installeremo nei nostri smartphone e saremo finalmente liberi (perché tracciati in tempo reale su una mappa). All’epoca i focolai erano quasi sempre nei porti. Si pensava allora che i veicoli fossero più che i marinai proprio le navi. La soluzione è vecchia di 700 anni: la quarantena (2).

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/2.png

Che può apparire crudele e sproporzionata. Ma d’altronde si trattava di salvare vite umane. E incidentalmente l’economia: confinamenti e quarantene intralciavano i commerci sul lungo raggio, ma comunicavano ai propri intorni territoriali che si trattava di porti sicuri dai quali attingere le merci. Dai lazzaretti, oltre che dalle flotte e dagli eserciti, dipendono l’espansione dei commerci e - oggi come allora - le sorti di quella che chiamiamo globalizzazione. E inoltre, pensate un po’, si diffondono dicerie. Le epidemie hanno origine in luoghi lontani dove, evidentemente, succedono cose immonde (hic sunt dragones) (3).

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/3.png

Un tale Luca Zaia, governatore dell’autonoma repubblica veneta, sostiene addirittura nell’anno domini 2020 che le epidemie nascono in Cina perché lì mangiano topi vivi, salvo poi scusarsi per l’affermazione. D’altronde all’epoca la gente era suggestionabile e ignorante di geografia (che era stata praticamente eliminata dalle scuole di ogni ordine e grado). Circolavano per questo parecchie fake news. Ma finalmente arriva la scienza moderna e si iniziano a mappare le epidemie per comprenderne le cause. Si sosteneva che il veicolo di trasmissione fosse l’aria, ovvero i famigerati ‘miasmi’, che esalavano da luoghi stantii e maleodoranti. Per dimostrarlo si disegnavano carte (che possono quindi essere considerate i primi tentativi di cartografare la puzza).

La prima è quella di Valentine Seaman (1795), porto di New York, febbre gialla (4): i numeri sono i contagiati, le S i luoghi dai quali esalano i ‘miasmi’ (“putrid effluvia”), le x i luoghi di assembramento.

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/4.png

La prossimità tra gli uni e gli altri implica correlazione e quindi causalità. La soluzione è la ‘sanificazione’. Che ha effettivamente risolto molti problemi sociosanitari, che però spesso non avevano natura epidemica ma erano appunto sociosanitari, ovvero colpivano i poveri. Le epidemie hanno invece un inconveniente: si trasmettono anche ai ricchi, che quindi tendono a prendere più a cuore la questione. Edwin Chadwick era particolarmente preoccupato. Nel 1842 disegna una carta che è considerata il primo esempio di cartografia delle disuguaglianze (5).

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Leeds, 1830, epidemia di colera: nelle aree scure abitano i ricchi. In quelle chiare i poveri. I pallini rossi sono decessi per colera. Quelli blu per malattie respiratorie. Le strade sono classificate in “buone” e “cattive”. La posizione e la frequenza dei pallini parlano chiaro: la malattia è un problema di classe. La povertà quindi conduce alla malattia? Bisogna sconfiggerla! Chadwick in realtà pensava che fosse l’opposto: la malattia conduce alla povertà. Ed entrambe sono dovute alle cattive abitudini. La colpa allora è di chi si ammala. Il veicolo erano comunque considerati i miasmi. La sanificazione ha cambiato per sempre le città e quindi il mondo.

Mentre il Barone Hausmann demoliva le parti più vecchie, tortuose e putride di Parigi per fare un po’ d’aria, il suo capo ingegnere Eugéne Belgrand dotava la città di un adeguato sistema circolatorio sotterraneo: le fogne. Direbbe Franco Farinelli che la cartografia di Belgrand (6) non è una rappresentazione più o meno fedele o utile del suo progetto, ma che è stata piuttosto la rete fognaria e perfino, di conseguenza, Parigi a prendere forma dalla logica cartografica che albergava nella mente cartesiana di Belgrand (e di Haussmann).

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/6.png

Sia come sia, ha funzionato. Parigi viene demolita, ricostruita e resa più sicura: sui grandi boulevard voluti da Haussmann possono finalmente passare gli eserciti. I tentativi di imitazione furono innumerevoli. A Napoli lo chiamarono “Risanamento”. Il risanamento (o sanificazione) ha cambiato il mondo proprio perché si basava su una teoria in buona parte sbagliata. Si sottovalutava la dimensione interpersonale del contagio per cercare specifici focolai che potessero essere quindi isolati, evitando misure draconiane che danneggiavano l’economia.

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/7.png

In fondo, mostrava Thomas Shapter nella sua mappa (7), si tratta di “poche isolate macchie [“spots”] nei quali si verifica un tasso di mortalità rimarchevole e anomalo”. Oggi li chiamiamo hotspot o cluster e li individuiamo in pochi istanti con calcolatori iper-potenti che attingono in real time a repository dinamiche di dati machine readable. Ma sempre di puntini e macchie su una carta si tratta. Allora per mapparli ci volevano mesi o anni ma, guarda un po’, i dati a quanto pare erano più affidabili. Per Richard Grainger il veicolo erano gli acquitrini o, dove non c’erano, la “cattiva ventilazione” (oggi diremmo “polveri sottili”) o “gli affollamenti” (“assembramenti”), come tentò di mostrare con una carta che, diciamo la verità, è una vera schifezza (8).

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/8.png

Cambiando scala, sulla già immensa superficie di Londra, non si potevano semplicemente disegnare pallini, lettere e numeri. La soluzione è ancora oggi la stessa: mappe di densità. Solo che oggi le autorità non pubblicano dati individuali. Dobbiamo quindi accontentarci di suddivisioni amministrative e mappe ‘arlecchino’ che oltre ad essere orribili sono notoriamente fuorvianti perché affette dal “problema dell’unità d’area modificabile”: se si cambia la scala (es. dalle province ai comuni) o la forma geometrica dei confini, la correlazione tra due fenomeni può addirittura cambiare di segno. Poi arriva il nostro eroe: John Snow. Non è discendente diretto del noto personaggio della nota serie tv, ma tra i cartografi gode di analoga fama. È considerato il padre di hotspot, cluster e tutta quella roba lì. Ma come! Direte voi. L’avevano fatto altri prima di lui. Lui però l’ha fatto meglio (9).

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/9.png

Innanzitutto la sua teoria era esatta. La concentrazione anomala (hotspot) di casi (nella mappa: le lineette in pila) in una particolare area della città di Londra (Broad street) non era dovuta ai miasmi (Broad street d’altronde si traduce “via larga”). I casi ‘clusterizzavano’ intorno a uno specifico pozzo (nella mappa i pozzi sono pallini con l’etichetta “pump”). L’origine del colera è quindi l’acqua. E poi il metodo di Snow era particolarmente pulito, cartesiano e quindi inevitabilmente cartografico.

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/10.png

E siccome i suoi colleghi epidemiologi non si convincevano, Snow disegnò una linea di equidistanza tra il pozzo di Broad street e gli altri per mostrare che le morti si concentravano prevalentemente all’interno di quella linea (10): per questa semplice idea i cartografi lo acclamano. Ed era talmente convinto dell’efficacia dimostrativa della sua mappa che non si prese neanche il disturbo di contare questi morti, testare altrove la correlazione ed escludere eventuali concause. Si recò però personalmente in tutti i luoghi vicino a Broad street dove, stranamente, i morti erano pochi, per dimostrare che qui l’acqua veniva attinta da altri pozzi. I migliori cartografi d’altronde sanno bene che “la geografia si fa con i piedi”, prima che sulle mappe. Queste ultime, si sa, mentono. Henry Acland allora ci si mise di buzzo buono: nella sua mappa (11) localizzò tutte le morti di colera a Oxford durante le epidemie del 1854 (quadrati e lineette nere), del 1849 (lineette blu) e del 1832 (puntini blu), i luoghi dei ‘miasmi’ (puntini marroni), quelli sanificati (cerchi marroni), i corsi d’acqua inquinati (linee tratteggiate), le zone acquitrinose (in verde), le linee altimetriche (nere) e vi allegò un rapporto di 170 pagine con una ricchezza impressionante di dati.

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/11.png

Fu acclamato con entusiasmo. Forse perché sosteneva tesi in linea con quelle all’epoca tanto in voga? Fatto sta che le sue conclusioni erano sbagliate. E quindi oggi chi era Acland lo abbiamo dimenticato mentre Snow compare in tutti i libri di epidemiologia e di cartografia. D’altronde il rigore scientifico è nulla a confronto delle buone idee. E in questo caso è quanto mai vero che “basta che funzioni”. Snow è considerato il primo ad avere sperimentato un metodo che è ancora alla base delle applicazioni geospaziali più diverse, dall’industria petrolifera al geomarketing. Ma non riuscì mai a convincere i suoi colleghi. Per una prova ‘scientifica’ si dovettero attendere 30 anni e un numero enorme di altri morti, inclusa quella prematura di Snow per l’eccessiva auto-sperimentazione di anestetici. Allora come oggi i medici spesso ci rimettono la pelle.

In Italia nel frattempo si mappava la malaria, il cui veicolo di diffusione è territoriale e non interpersonale. Il problema riguardava per questo vastissimi territori che coprivano praticamente l’intera penisola. A fare l’Italia non bastavano quindi gli eserciti. Bisognava anche costruire le ferrovie. I lavori però progredivano lentamente e il motivo principale era proprio la malaria. Per non parlare dei danni all’agricoltura. Per mostrarlo il senatore Luigi Torelli disegnò una delle prime carte dell’Italia unita (12).

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/13.png

L’Italia l’hanno poi fatta anche le bonifiche, ma prima ancora quella mappa nella quale ci si scopriva vittime di un unico terribile morbo senza confini. In verità la malaria è stata sostanzialmente una “questione meridionale”, come pure si può dedurre sulla carta osservando le zone più scure. L’intenzione di Torelli era in ogni caso scioccare l’opinione pubblica e spronare all’azione. Compito che le carte geografiche svolgono da sempre egregiamente. E infatti funzionò. La lotta alla malaria modificò le abitudini, l’architettura, il territorio. Decine di migliaia furono salvati, per poi essere mandati con altri centinaia di migliaia a morire in guerra. Salvare vite umane è d’altronde un imperativo morale, ma alcune cause di morte fanno eccezione. Con altrettanta incuria ci si dedicò alle principali concause della malaria: la deforestazione selvaggia e la miseria. La lotta durò quindi un intero secolo, anche perché il vaccino funzionò solo in parte. Speriamo che contro questo coronavirus ci vada meglio. Perché abbiamo già iniziato a contare i morti dovuti alle misure di contenimento del contagio. E a discutere soluzioni alla recessione devastante che ci attende sulla base di teorie economiche altrettanto parziali che, guarda caso, nascono nella stessa epoca, e su una mappa (13).

http://blog-micromega.blogautore.espresso.repubblica.it/files/2020/05/12.png

E anche se abbiamo imparato a distinguere una correlazione da un nesso di causalità, facciamo ancora confusione tra ciò che è efficace e ciò che è giusto. Ma questa è un’altra storia. Nonostante, quindi, siano trascorsi secoli di progresso scientifico e civile continuiamo ad adottare metodi di contenimento delle epidemie simili - isolamento, quarantena, sanificazione, militarizzazione del territorio. Sappiamo tutto su virus, contagi, abitudini e movimenti delle persone ma applichiamo una strategia che è stata inventata a Venezia nel ‘300. Continuiamo a disegnare carte nel tentativo (spesso altrettanto vano) di individuare origini, canali di diffusione, soluzioni, scorciatoie. Continuiamo ad adottare soluzioni parziali, sperimentali, sproporzionate, pensando che esse si basino su incontrovertibili verità scientifiche. Il tutto condito da tonnellate di fake news, feroci caccie all’untore e elefantiaci dispositivi di sicurezza che se non fossero pericolosi sarebbero ridicoli, mentre la morte nera dilaga e ci inchioda, oggi come sempre, alla nostra prigione cartografica fatta di reti di contagio, confini di contenimento e territori minuscoli nei quali, terrificati, ci isoliamo. Perché “vedi, figlio mio”, come dice Gurnemanz a Parsifal nell’omonimo dramma anti-positivista di Wagner, “il tempo qui diventa spazio”. Niente di nuovo. Niente di strano. L’errore è aver pensato che, nel frattempo, il mondo fosse cambiato. Solo che nello spazio reti, confini, territori non esistono. Sono solo modi a volte goffi, a volte efficaci, con i quali tentiamo di dare un senso al mondo, che poi vengono facilmente confusi con la realtà che rappresentano (d’altronde sia la mappa di Snow che quella di Aucland erano ‘vere’). E che poi – anche per questo - hanno effetti molto concreti sul modo con il quale gestiamo e modifichiamo il territorio, l’architettura, le abitudini. Piaccia o non piaccia, speriamo almeno che funzioni.

FONTI

Al-Marashi I. (2020) Black plague, Spanish flu, smallpox: All hold lessons for coronavirus. Bullettin of the Atomic Scientists, March 13, 2020. Bagnato A., Terra infecta: Mapping malaria in Italy [▻https://research-development.hetnieuweinstituut.nl/en/research-projects/mapping-malaria-italy]

Bynum W. (2008) The history of medicine: A very short introduction. Oxford University Press. Farinelli F. (2003) Geografia: un’introduzione ai modelli del mondo. Einaudi.

Gandy M. (1999) The Paris sewers and the rationalization of urban space. Transactions of the Institute of British Geographers 24: 23-44. Koch T. & Denike K. (2009) Crediting his critics’ concerns: Remaking John Snow’s map of Broad Street cholera, 1854. Social Science & Medicine 69: 1246-1251.

Koch T. (2005) Mapping the miasma: Air, health, and place in early medical mapping. Cartographic Perspectives 52: 4-27.

Koch T. (2011) Disease maps: epidemics on the ground. University of Chicago Press.

Mason B. (2019) The Topography of Disease: A 19th-century doctor famously mapped cholera’s toll to try and understand its origin and spread.

Scientific American, January 29, 2019.

Snowden F.M. (2002) Naples in the Time of Cholera, 1884-1911. Cambridge University Press. Snowden F.M. (2019) Mr. Clean: Edwin Chadwick and the movement to blame the poor for being sick. Lapham’s Quarterly, October 23, 2019.

MAPPE

MAPPE

(1) Filippo de Arrieta, “Raguaglio historico del contaggio occorso nella provincia di Bari negli anni 1690, 1691 e 1692”
▻https://it.wikipedia.org/wiki/File:Raguaglio_historico_del_contaggio..._Wellcome_L0043986.jpg

(2) I luoghi della quarantena a Venezia nel 1572: Lazzaretto vecchio e Lazzaretto nuovo
▻https://www.piratesurgeon.com/pages/surgeon_pages/quarantine10.html

(3) Monro Scott Orr (1874-1955), “Storia e diffusione della morte nera nel mondo”
▻https://wellcomecollection.org/works/v37g7nq9

(4) Valentine Seaman (1770-1817), “Indagine sulle cause e la prevalenza della febbre gialla a New York”, 1797
▻https://lib-dbserver.princeton.edu/visual_materials/maps/websites/thematic-maps/quantitative/medicine/medicine.html

(5) Edwin Chadwick (1800-1890), “Rapporto sulle condizioni sanitarie della popolazione lavorativa della Gran Bretagna”: “Mappa sanitaria di Leeds”, 1842
▻https://www.parliament.uk/about/living-heritage/transformingsociety/livinglearning/coll-9-health1/health-02/1842-sanitary-report-leeds

(6) Eugène Belgrand (1810-1878), “I lavori sotterranei di Parigi, Vol. V”: “Fogne costruite tra il 1856 e il 1878”
▻https://rgs-ibg.onlinelibrary.wiley.com/doi/epdf/10.1111/j.0020-2754.1999.00023.x

(7) Thomas Shapter (1809-1902), “Mappa di Exeter che mostra le località dove si sono verificate le morti causata dal pestilenziale colera negli anni 1832, 1833 e 1834”, 1849

https://upload.wikimedia.org/wikipedia/commons/c/cc/Thomas-Shapter-HistoryOfCholeraInExeter1832-map.jpg

(8) Richard Grainger, “Mappa del colera nella metropoli, 1849”, 1850
▻https://wellcomecollection.org/works/hjutkspw

(9) John Snow (1813-1858), “Rapporto sull’epidemia di colera nel quartiere St. Jaimes, Westminster, durante l’autunno del 1854”, 1855
https://upload.wikimedia.org/wikipedia/commons/8/8e/Snow-cholera-map-1.jpg%3Fuselang%3Dit

(10) John Snow, riproduzione della linea di equidistanza tra il pozzo di Broad Street e quelli contigui, 1855
▻https://medium.com/through-the-optic-glass/la-mappa-che-cambi%C3%B2-le-citt%C3%A0-8027752b2c12

(11) Henry Acland (1815-1900), “Memorie sul colera a Oxford nel 1854”, “Mappa di Oxford”, 1855
▻https://blogs.bodleian.ox.ac.uk/maps/2015/10

(12) Luigi Torelli (1810-1887) “Carta della malaria dell’Italia”, 1882
▻https://zanzare.ipla.org/index.php/2-non-categorizzato/152-note-storiche-sulla-lotta-alla-malaria-in-italia

(13) Johann Einrich von Thunen (1783-1850), “Lo stato isolato in relazione all’agricoltura e all’economia”, 1826. Secondo alcuni è la prima applicazione di un modello economico marginalista.
▻https://archive.org/stream/derisoliertestaa00thuoft?ref=ol#page/n4/mode/2up

▻http://temi.repubblica.it/micromega-online/storia-semiseria-della-cartografia-esattissima-delle-epidemie-anno-d
#cartographie #cartographie_historique #histoire #épidémie

Auteur : #Filippo_Celata, qui a publié ce billet sur @visionscarto :
Cartographie d’un désastre : la santé publique en Italie face au coronavirus
►https://visionscarto.net/hopital-et-coronavirus-en-italie

Welcome | #Palestine Open Maps
►https://palopenmaps.org

https://palopenmaps.org/static/images/haifa-crop.jpg

#cartographie

Les ressources d’#uranium dans le monde colonial

http://4.bp.blogspot.com/-YeEfCYviko8/T6fj6982F3I/AAAAAAAAAAc/dp6A1irhXDE/s280/ressources_duranium_dans_le_monde_colonial.png

–-> Carte publiée dans le numéro 98 de CQFD (mars 2012), en accompagnement de l’article « L’Arevafrique » (►http://cqfd-journal.org/L-Arevafrique) de Jonathan Ludd. Creative Commons by-nc-sa.

ping @visionscarto

H-Maps | H-Net

▻https://networks.h-net.org/h-maps

H-Maps is an international digital forum in the historical study of the making, circulation, use and preservation of maps from the ancient to the contemporary period. Because of its international nature, H-Maps welcomes contributions in world languages, including (but not limited to) English, French, Spanish, Portuguese, and German. H-Maps is a collaboration between the International Society for the History of the Map (ISHMap, Twitter @ishmap1) and H-Net to further substantive inquiry among a growing number of global scholars with an interest in the history of maps and mapping.

#cartographie_historique

19th c. Burmese map of the our world, #Jambudvipa (or “the land of the blackberry”), one of seven continents but the only one where humans live (blackberry tree at the top).

https://i.imgur.com/C5ndOlr.jpg

ping @reka

Guide to figuring out the age of an undated world map

https://i.imgur.com/WxOZuIt.jpg

#ressources_pédagogiques #cartographie #cartes #date #cartographie_historique #datation

... et il faudrait probablement trouver d’autres tags pour pouvoir retrouver cette belle #infographie, mais je n’ai pas plus d’idées...

An Open-Source Map of Palestine Before Israel - CityLab
▻https://www.citylab.com/life/2018/05/mapping-palestine-before-israel/560696
▻https://cdn.citylab.com/media/img/citylab/2018/05/Haifa/facebook.jpg?1526650508

The Palestinians recently protesting in the Gaza Strip called their demonstration “The Great Return March”—that’s a reference to a desire to return to the land from which they were expelled in 1948. Of the 1.9 million Palestinians living in Gaza, 70 percent came from villages in the surrounding area and beyond, in what is now Israel, 70 years ago this month.

During the founding of the state, the Israeli military destroyed more than 500 Palestinian villages; some were completely abandoned, while others became the foundation for Jewish villages and towns. Some villages survived. A new open-source mapping project, Palestine Open Maps, allows users to see the Palestinian landscape as it looked before 1948—and to search for villages and towns from that era to find out whether they remain, were depopulated, or were built over.

#palestine #cartographie

Mare Liberum

https://we.riseup.net/assets/428986/mare+liberum+map_large.jpg

#Mare_Liberum #Méditerranée #cartographie #visualisation #cartographie_historique #Grotius #mer_Méditerranée

Amoureux d’Histoire, accédez gratuitement à des centaines d’anciennes cartes du monde | Daily Geek Show
▻https://dailygeekshow.com/histoire-cartographie-gratuit

https://dailygeekshow.com/wp-content/uploads/2018/09/une-cartes-monde.jpg

’History of Cartography Project est un projet de recherche, de rédaction et de publication attirant l’attention de tous sur l’histoire des cartes et de la cartographie. Le projet traite les cartes comme des artefacts culturels créés depuis la préhistoire jusqu’à nos jours. Le contenu majeur du projet est la série multi-volumes et multi-auteurs History of Cartography. Une partie de ces ouvrages sont gratuitement mis à la disposition de tous sur le site de l’Université de Chicago.

#cartographie_ancienne #histoire

Les #globes de #Mercator – du XVIe au XXIe siècle

Suite à la découverte, à l’UNIL, d’une authentique paire de globes terrestre et céleste du XVIe siècle, une version virtuelle en ligne permet à tous d’explorer ces chefs-d’œuvre.

Une découverte incroyable

Imaginez une carte du monde que vous pouvez parcourir d’un simple mouvement du doigt sans jamais en atteindre le bord ; une carte qui ne déforme pas ses continents, qui n’altère pas les distances. D’un coup de loupe, vous découvrez une multitude d’informations. Cette carte ajouterait les données les plus récentes accessibles à la technologie moderne aux connaissances des anciens.

Evidemment, une telle carte est impossible à réaliser en deux dimensions à cause des déformations introduites lors de l’ « aplatissement » de la planète sur le papier.

Cette « carte » idéale, Gerardus Mercator essaya de la réaliser au XVIe siècle sous la forme de deux globes, l’un terrestre et l’autre céleste. De tels objets existaient déjà, mais étaient auparavant des exemplaires uniques et donc fort coûteux. Grâce aux dernières innovations de l’imprimerie, il parvint à les produire en grand nombre et les diffuser à travers toute l’Europe. Maîtrisant l’ensemble des opérations de conception et fabrication, il fit de son affaire familiale un succès commercial certain.

On ignore combien de globes furent fabriqués au cours des quelque 40 ans que dura leur production, mais les exemplaires ayant survécu jusqu’à nos jours ne sont que quelques dizaines. C’est dès lors avec stupéfaction et une certaine incrédulité initiale, qu’une paire de globes estampillés Gerardus Mercator Rupelmundanus fut découverte en 2004 dans les locaux du Cubotron, le bâtiment de physique de l’UNIL.

Sous la conduite passionnée autant que rigoureuse de Micheline Cosinschi (professeure FGSE) et Géraldine Falbriard (Unicom), ces antiquités furent soumises à une batterie d’analyses de pointe afin d’une part de vérifier leur authenticité et d’autre part d’en savoir plus sur leur structure et mode de construction. C’est ainsi que le bois de leurs socles fut analysé par les techniques du carbone-14 et de la dendrochronogie, qui prouvèrent que leur âge était compatible avec leur date de construction supposée. Pour dater les globes eux-mêmes, des fibres furent prélevées dans leur épaisseur et soumises à diverses analyses de radiocarbone, dont les résultats vinrent confirmer les précédents. La colle, les pigments, tout concorde : ce sont d’authentiques originaux du XVIe siècle.

Il est à noter que les globes de l’UNIL sont les premiers à avoir été authentifiés de manière aussi complète et rigoureuse et ils font maintenant figure d’« étalon » dans le domaine.

Après un méticuleux travail de restauration et de conservation, ces chefs-d’œuvre peuvent maintenant quitter les laboratoires d’analyse et les sous-sols sécurisés pour s’exposer à la vue du public. Ils firent d’ailleurs une première apparition fort remarquée de mai à juillet à l’Espace Arlaud (Lausanne).

#Virtualisation
Toutefois, une exposition a ses limites. Impossible en effet de toucher les globes, de les faire tourner, de s’en approcher, ce qui en rend certaines parties difficilement visibles ou mal éclairées. Afin de permettre à tout un chacun de visualiser l’œuvre de Mercator sous ses moindres coutures, il fallait en faire une version virtuelle, visible sur Internet. Nous voulions également que le modèle informatique puisse être aisément comparable aux cartes modernes, que l’on puisse en représenter différentes parties avec le minimum de déformation. Pour toutes ces raisons, il fut décidé de modéliser les globes dans le Système d’Information Géographique (#SIG) #ArcGIS.

http://wp.unil.ch/cinn/files/2018/08/24_mercator.jpg http://wp.unil.ch/cinn/files/2018/08/24_mercator_gt_gc.jpg http://wp.unil.ch/cinn/files/2018/08/24_mercator_protocole-300x299.png

Quelques #graffitis vus au #Cambodge, et plus précisément sur la #montagne #Bokor (sur lequel je ferai probablement un post dans les prochains jours, car l’histoire est fort intéressante) :

https://i.imgur.com/ZM5w50K.jpg https://i.imgur.com/wDrkrzz.jpg

Quelqu’un reconnaît l’identité de ces personnes qui ont été dessinées sur ce graffiti ?

https://i.imgur.com/8DYCbY1.jpg https://i.imgur.com/KzFN9ON.jpg

#Kampot #Cambodge #graffiti #art_de_rue #street-art
cc @reka

« Le Portugal n’est pas un petit pays »

https://i.imgur.com/ExPmULM.jpg

#Jean_de_Beins

Il s’est engagé à 13 ans comme arquebusier à cheval. Entre 1590 et 1594, il participe au siège de Paris entre mai et septembre 1590 et y est blessé. En février 1591, il est dans la compagnie de Charles de Balsac, baron de Dunes, au siège de Chartres où il de nouveau blessé. Il participe au siège de Rouen entre décembre 1591 et juillet 1592. Il est blessé au siège de Dreux. En 1596, il est envoyé à Perpignan, sous les ordres du maréchal d’Ornano où il est de nouveau blessé. En 1597, il est en Savoie sous les ordres du duc de Lesdiguières pendant la campagne contre le duc de Savoie. Il s’y fait reconnaître par la « générosité de son courage ». Il fait la connaissance du duc de Lesdiguières. Il reste militaire jusqu’à la paix de Vervins, en 1598.

Après 1598, Jean de Beins « s’était estudié aux mathématiques et rendu capable de la science des fortifications et de la géographye... ». Il sert ensuite comme commis et géographe du roi aux fortifications du Dauphiné sous les ordres de Raymond de Bonnefons, ingénieur pour le roi en Dauphiné, Bresse et Provence1. Le lieutenant général du Dauphiné était le duc de Lesdiguières. Il se forme alors sur le tas.

Lors de la guerre franco-savoyarde (1600-1601), il participe aux sièges de Montmélian, Charbonnière, Bourg-en-Bresse et du fort Sainte-Catherine, près de Genève2. La guerre se termine avec le traité de Lyon, le 17 janvier 1601. Le département de Raymond de Bonnefons s’agrandit de Bresse, du Bugey, du Valromey et du Pays de Gex.
En 1601, Raymond de Bonnefons et Jean de Beins travaillent au Fort Barraux3, à Exilles et à Bourg-en-Bresse.

Jean de Beins est désigné comme « ingénieur entretenu par le Roy » dans une ordonnance signée par Sully en 1606 et indique qu’il a « mis en mains de Sa Majesté des Cartes du païs de Dauphiné et de Bresse ».

Raymond de Bonnefons meurt en enclouant des canons, en 1607, comme l’écrit Sully au roi Henri IV le 25 juillet : « Il est arrivé un accident en Provence qui m’apporte du desplaisir ; c’est la mort de deux de vos ingénieurs à scavoir Bonnefons et le jeune Errard qui n’en savait guère moins que son père ». Après l’avis de Sully, en 1607, la charge de Raymond de Bonnefons est partagée entre son fils, Jean de Bonnefons, nommé ingénieur ordinaire en Provence et Languedoc, et Jean de Beins, nommé ingénieur pour le Roi, géographe de Dauphiné et Bresse.

Jean de Beins va alors être le grand fortificateur du Dauphiné. En 1607, il travaille sur le fort Barraux pour faire de cette place la plus forte du Dauphiné. On le voit :

en 1606 : au fort de L’esluse, au fort de Brescon en Languedoc ;
en 1607 : à Bourg, Puymore, Embun, Exilles ;
en 1608 : à Château-Queyras, Château Dauphin, Valence, Livron ;
en 1609 : à Nyons, Serres, Sisteron, Exilles.

Le 15 mai 1605, Sully avait rédigé un « Règlement que le Roy veult estre doresnavant observé pour les fortifications qui seront faictes en chacune Province de son Royaume ». L’ingénieur doit avant chaque chantier dresser la « description du travail et les devis ».

De Beins dresse ainsi un « Estat sommaire à quoy pourront monter les ouvrages de Massonnerye, creusement de fossez et autres (charpenterye) qu’il convient faire pour les fortifications et reparations de la ville de Grenoble suyvant la dernière visite qui en a esté faite »4.

Ingénieur et géographe, il a pour mission d’informer le roi et son ministre des fortifications de la province du Dauphiné, mais aussi de son visage géographique par sa cartographie. En 1607, Henri IV avait demandé à Sully de « faire faire les cartes des frontières de son royaume ». Le roi « aimait avec passion les cartes chorographiques et tout ce qui étoit des sciences mathématiques »5. De cette activité de cartographe, il reste 75 planches qui se trouvent au British Museum6.

Il est anobli en mars 1610. Pendant le règne de Louis XIII il prend une part importante aux guerres à la frontière du Piémont.

Il a dessiné les plans de la nouvelle enceinte de Grenoble et a travaillé à Puymaure7, fort construit par les Huguenots pour surveiller la catholique Gap et détruit sur ordre de Richelieu en 1633.

https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/%22Delphinatus_vulgo_Dauphin%C3%A9_avec_ses_confins_des_pais_et_privinces_voisines_-_par_Iean_de_Beins...%22_%2821632659824%29.jpg/440px-%22Delphinatus_vulgo_Dauphin%C3%A9_avec_ses_confins_des_pais_et_privinces_voisines_-_par_Iean_de_Beins...%22_%2821632659824%29.jpg https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Exilles_par_Jean_de_Beins_d%C3%A9but_du_XVIIe_si%C3%A8cle.jpg/440px-Exilles_par_Jean_de_Beins_d%C3%A9but_du_XVIIe_si%C3%A8cle.jpg

The Map That Helped Convince Lincoln Slavery Had To End
▻https://www.ranker.com/list/map-that-convinced-lincoln-to-end-slavery/genevieve-carlton

https://imgix.ranker.com/list_og_img/132/2620232/original/map-that-convinced-lincoln-to-end-slavery-u7?w=817&h=427&fm=jpg&q=50&fit=crop.jpg

his map, produced by the US Coast Survey in 1861, drew on census reports from 1860 – the last year that the US government collected census data on slaves. The map shows the prevalence of slavery by county, with darker counties representing a higher percentage of slaves and lighter counties a lower percentage.

The map was visual proof of the South’s dependence on slave labor. It also gave the public a way to visualize the variations of slavery throughout the South during the middle of the Civil War. And more importantly, President Abraham Lincoln relied on the map in deciding how to end slavery.
weird history44 people have voted on12 Bizarre Pirate Traditions Most People Don’t Know About
The Slavery Map Was A Radically New Way Of Mapping

#esclavage #cartographie #carto_experiment #racisme

Les touristes américains dans les années 1930

Signalé par Tim Wallace @wallacetim sur Twitter

https://pbs.twimg.com/media/DXAVrr-W4AABJAt.jpg:large

#Cartographie_historique des #universités en #Europe

▻http://barthes.enssib.fr/cybergeo/Univ/#1220

E. Guichard et C. Renaud, 2016
d’après C. Ducrot. Projet financé par le Conseil scientifique de l’Enssib.

Un mapa colosal para perderse en el siglo XVI

La Universidad de Stanford reconstruye por primera vez el enorme y singular mapamundi que el cartógrafo #Urbano_Monte pintó en 1587 en 60 láminas

https://ep01.epimg.net/internacional/imagenes/2018/01/01/mundo_global/1514843864_886090_1514843965_noticia_normal_recorte1.jpg

▻https://elpais.com/internacional/2018/01/01/mundo_global/1514843864_886090.html
#cartographie #cartographie_historique #histoire

Les cartes de l’Empire
▻http://www.laviedesidees.fr/Les-cartes-de-l-Empire.html

Quelles étaient les représentations mentales occidentales du Moyen-Orient au tournant du XXème siècle ? En étudiant le champ restreint de la #cartographie, Daniel Foliard s’attache à dessiner une « carte mentale » de la pensée impériale britannique.

Livres & études

/ #empire_ottoman, #Empire_britannique, cartographie, #Bible

#Livres_&_études