A Visual Art Interface to Multi-Temporal Maps (original) (raw)
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The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, 2015
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The National University of Ireland, Galway (NUI Galway) acquired the archive of Tim Robinson in 2013. Robinson is a cartographer and writer who lived, studied, and documented the landscape surrounding Galway Bay over the course of 40 years. This paper describes the methods taken for the digital preservation, access provision, discovery, and digital mapping of this landscape archive. We describe a user interface that allows exploration and discovery of the landscape archive on a digital map, linked to the archive, which allows the user to interact with the material from a perspective of place. The aim of this is to provide an enhanced user experience and create potential for teaching, research,
Proceedings of the 33rd Annual ACM Conference on Human Factors in Computing Systems - CHI '15, 2015
Creating and utilizing simple links between items and locations in map-based systems has become a mainstream component of modern computing. In this paper, we explore support for 'art mapping', an activity that requires consideration of more complex interpretations of spatial relationships as users engage with identifying locations of relevance to artworks. Through a user study of the ArtMaps platform, and an exploratory study with professional artists, we identify diverse interpretations of spatial meaning in relation to art. We find that art mapping highlights potential for more active engagement with art through technology, but challenges existing systems for spatial representation. Through connecting our findings with work on designing for interpretation, and on space and place in HCI, we contribute new understanding of creating engagement through the spatial interpretation of art, and define potential characteristics and uses of holistic 'footprints' for artworks.
Visualising Spaces: The Illustrated Map as a mode of communicating Fact, Fiction and Feeling.
VaroomLab Journal 4 'Visionaries', 2016
Communicating thoughts, facts and narratives through visual devices such as allegory or symbolism was fundamental to early map making and this remains the case with contemporary illustration. Drawing was employed then as a way of describing historic narratives (fact and folklore) through the convenience of a drawn symbol or character. The map creators were visionaries, depicting known discoveries and anticipating what existed beyond the agreed boundaries. As we now have photographic and virtual reality maps at our disposal, how can illustration develop the language of what a map is and can be? How can we break the rules of map design and yet still communicate the idea of a sense of place with the aim to inform, excite and/or educate the ‘traveller’? As Illustrators we need to question the purpose of creating a ‘map’: what do we want to communicate and is representational image making the only way to present information of a location? Is creating a more personal interpretation a form of cartouche, reminiscent of elements within the Hereford Mappa Mundi and maps of Blaeu, and can this improve/hinder the communicative aspect of the map? Looking at a variety of historical and contemporary illustrated maps and artists (such as Grayson Perry), who track their journeys through drawing, both conventional journeys and emotional, I will aim to prove that the illustrated map is not mere decoration but is a visual language providing an allegorical response to tangible places and personal feelings.
Archaeological sites are not isolated islands of information. They are always emplaced in landscapes of social memory, cultural construction and interconnectedness between their past creators and their present consumers – the viewers of sites who give meaning to this heritage. A crucial step in the process of cultural heritage management surveys of sites and landscapes is the representation of places and of the knowledge and significance of places held by Traditional Custodians (descendants of the original creators of heritage places) and a range of stakeholders, including the general public and people making development decisions under heritage laws. This paper will discuss the effect of integrating multiple forms of heritage (tangible, intangible, living, and management) through 3D animated mapping of heritage places, using ArcGIS point data and Blender animation software packages. I also explore how the use of a new digital medium for presenting and re-presenting integrated heritage maps may change the understanding and interpretation of Australian Aboriginal heritage places. I use a specific case study to illustrate my methods – the Gummingurru stone arrangement site on the Darling Downs of southern Queensland, Australia. Archaeologists and heritage practitioners working at the Gummingurru stone arrangement have engaged with this place at a range of different levels: on the artefactual-scale of each individual rock’s measurements, position and appearance; through the site-scale of yuree (totemic) motifs and intangible heritage knowledge of the Jarowair Traditional Custodians; to the regional-scale of journeying interconnections throughout southeast Queensland and northern New South Wales. Archaeologists and heritage professionals have investigated, interpreted, represented and engaged with each of these scaled elements within multiple dimensions of geographical and cultural knowledge. Gummingurru is currently a 5ha site and was once a secret-sacred men’s Initiation place, where responsibilities were imparted at different life stages and where disputes were resolved and trade and other social interactions were undertaken. The last known use of the site for these purposes was in 1893, after which the Jarowair people were forcibly removed from their land and sent to missions around Queensland. Today, the site is owned by the Jarowair Traditional Custodians acting as the Gummingurru Aboriginal Corporation and is used as a reconciliation place for the education of school children and the general public - a resurrection and reworking of its original purposes. Mapping each individual stone on this living heritage site was undertaken between 2006 and 2010, where the position and cultural context of each motif were recorded using a phenomenological counter-mapping framework. This approach has supported an engagement with place that has successfully produced several counter-maps integrating movement, interconnections and pathways between various sites and places in the Gummingurru cultural landscape. The maps have been developed in 2D and 3D digital environments, and are used as the basis of general public outreach and as part of teaching kits designed to be integrated into the Australian National Curriculum for all school levels. Title: Maps that move: integrating intangible and living heritage into archaeological representations of multi-scalar landscapes. Author: E. Jaydeyn Thomas Affiliation: School of Social Science, The University of Queensland. Contact: emma.thomas@uqconnect.edu.au. Abstract: 474 words. Type: Paper in a session Session 14: Practising Digital Cartography in Archaeology: What is at Stake?
How multimedia and hypermedia are changing the look of maps
AUTOCARTO …, 1993
The ideas of what constitute the presentation format of maps have changed. We now have the opportunity to create not only maps printed on paper or displayed on a computer monitor from a digital file, but we can present them on a television screen from a digital Photo CD, an analog laserdisc, or videotape. We can even add motion, sound, and interaction to the cartographic image. This great diversity in types of media and the opportunity to integrate and link these various forms to cartographic information is changing the way we create and use maps. As cartographer's begin to explore and incorporate multimedia and hypermedia technology into their work they are confronted with a host of tools and ideas. This paper discusses a range of multimedia hardware and software available for use in cartographic displays and presents the results of a research and demonstration grant funded by the United States Department of Education to create an interactive videodisc on mapping. The videodisc contains thousands of still frame images of over 600 maps and 25 minutes of motion video, all linked to a digital database containing information about each map. Access to the map images and database are possible through an interface designed specifically for this project.
Why Not a Single Image? Combining Visualizations to Facilitate Fieldwork and On-Screen Mapping
Remote Sensing, 2019
Visualization products computed from a raster elevation model still form the basis of most archaeological and geomorphological enquiries of lidar data. We believe there is a need to improve the existing visualizations and create meaningful image combinations that preserve positive characteristics of individual techniques. In this paper, we list the criteria a good visualization should meet, present five different blend modes (normal, screen, multiply, overlay, luminosity), which combine various images into one, discuss their characteristics, and examine how they can be used to improve the visibility (recognition) of small topographical features. Blending different relief visualization techniques allows for a simultaneous display of distinct topographical features in a single (enhanced) image. We provide a “recipe” and a tool for a mix of visualization techniques and blend modes, including all the settings, to compute a visualization for archaeological topography that meets all of th...
Potential of Geospatial Technologies as a Cognitive and Spatio-visual tool for Mapping the Past
National Security, 2021
A major challenge in understanding the past is that it is not available for exploration at present. The sections of history that deal with geographical associates of human endeavours also pose a challenge to the readers and learners about the scale and experience of a past landscape. Despite the cognitive and reasoning capabilities of individuals, views of an entire landscape cannot be achieved by normal eye view. Geospatial technologies provide immense potential for accessing historical landscape and past realities. The tools are helpful in twin ways. Firstly, they enable learners to understand the existing information about landscape by providing synoptic and 3D views through interactive visualisation tools. Secondly, they enable researchers to look for clues to the past settlements in a landscape in ways that are not otherwise possible, i.e. "see" through infrared lens and integrate evidence gained from observations made across different times. The present paper discusses some of these advantages that we gain by applying gospatial technologies to normal human perceptions.