By Georg Gartner, William Cartwright, Antje Lehn
The contributions during this publication deal with using ‘different’ geo-communication instruments that may enable for superior visualization of geography- through incorporating paintings. it's envisaged that the paintings of this publication can assist to re-define how we will be able to higher visualise area and position, contemplating: technology, expertise and artwork. The e-book is hence a party of the ‘meeting point’ among paintings and Cartography. It presents a kick off point for a trip that may discover leading edge tools and strategies for representing our international utilizing the complementary ideas from paintings, technological know-how and expertise.
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Extra resources for Cartography and Art (Lecture Notes in Geoinformation and Cartography)
From the producer/consumer perspective, the need to produce a map that would serve a purpose, as well as mastering a technological skill, provides the motivation to complete a product that works (for them), but they could be uninterested in producing maps for anyone but themselves). In the current situation, where maps are no longer the focus for every interpretation of geography, should cartographers view what they do differently, and do consumers of cartographic products influence the art/science/technology balance?
Some contemporary discussion of cartographic transformations has drawn attention to the possible input of feelings and subjectivity. It has been argued by critical 34 David Fairbairn cartographers such as Harley and Wood that cartographic transformations cannot be completely mechanistic: there will always be a conscious or sub-conscious distortion of reality inherent in any map, due to the prejudices and mind-set of the cartographer, the social milieu within which the map is created, even the clientled agenda which commissions the map.
Criticism of cartography addresses the skill with which spatial data has been transformed into a map representation. If the measure of success of a map is the skill with which it has been produced, then one must argue that cartography is a craft, and cannot be equated to art. A further distinction made between craft and art (Collingwood 1937) is that the former relies on a planning stage, followed by an execution stage, to reveal the artefact produced; whilst in art the planning (inspiration, emotion) and the execution are often simultaneous.