emotion mappinglondon underground map. looking at the map, it does somewhat resemble a piece of piet...

SoC BULLETIN Vol 52 3

IntroductionThe interest in exploring the concept of Emotional Mapping was kindled by the reading of an article by Benoit Loiseau in Wallpaper magazine (12 October 2017), entitled “Accidental heroes: a Mexican concrete master mix”. In the article he referred to a term – Emotional Architecture – coined by Mathias Goéritz in 1953 to describe an architecture elevated to art for the purpose of inspiring emotion (Loiseau, 2017). This led me to thinking about whether there are any maps that also inspire emotion.

My method was to look at other creative practices, outside cartography, like architecture, where certain pieces have been considered as ‘art’ by those creative practice communities, or critics/reviewers of those pieces; and then to seek the criteria upon which the classification of ‘Art’ was made. Once this was done, I assembled a hybrid set of criteria, which would form the basis for my determination about whether a map can be considered to be art. Then, I would look at a selection of maps and see whether they met the criteria specified by my hybrid criteria.

What I don’t meanWhat I don’t mean is the concept that, just because a map ‘looks’ like a piece of art, or if it was developed with due reference to a particular art genre, this does not make the map ‘art’. Take for example Harry Beck’s London Underground Map. Looking at the map, it does somewhat resemble a piece of Piet Mondrian’s art – white background and simple bold colour line work. Looking at the images in Figures 1a and 1b, where Beck’s map and Piet Mondrian’s Composition with Yellow, Blue and Red, one could draw that conclusion. (Beck’s map could perhaps be called ‘Composition with green, black, yellow, blue and red’!). But, does this make Beck’s map ‘art’? I consider the answer to this question to be ‘no’ (even though it is part of the V&A’s collection).

Addressing this from another viewpoint, where an art genre is used as a ‘template’ with which to develop the general ‘look-and-feel’ of a map product. My example here is the research and development undertaken by Sidonie Christophe and Charlotte Hoarau (2012). Their

EMOTION MAPPINGWilliam Cartwright

Emotional Cartography – not maps of emotions or the emotions evoked by spaces mapped or by map-ping emotions evoked through the process of moving through a space. But – it is what we experience as ‘emotional uplifting’, when we view a cartographic artefact, whereby we elevate that artefact from a tool to communicate about geography to a piece of art. This contribution provides the results of an evaluation of some notable cartographic products that were compared to other artefacts that have generally been considered to be exemplars of design. These ex-emplars can inspire emotions and, subsequently have been viewed as ‘art’ in the areas of architecture, furniture, automobiles and industrial design. Here, I propose that certain cartographic products may, when viewed, inspire viewers and uplift their emotions. This proposition is tested by assessing a selection of cartographic artefacts against the ‘key’ elements derived from critical reviews of design exemplars (that are considered to be ‘art’) from outside cartography.

Figure 1a. Harry Beck. Composition (with Green, Black, Yellow, Blue and Red)

Figure 1b. Piet Mondrian. Composition with Yellow, Blue and Red 1937–42

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work used particular artwork ‘styles’ as a template for automatically generating topographic maps, via the IGN France topographic maps database. Figure 2 shows a Roy Lichtenstein’s Pop Art- inspired topographic map. But is it (the map) art? Craig A Elimeliah’s opinion (2006) is that the paths laid down by past artists establish a style … when that style or method is used by another artist, the art then turns into design.

What is Art?When researching this contribution I found that much literature was written about this question in the 1960s–1970s. The following is a summary about what has been written, from the papers from this period that I explored. I accept that this is a distinct time period, and perhaps what the Art world now define ‘Art’ has moved on. However, for this piece of research the summary provided below suffices to provide a lodestone about how the Art world perceives ‘What is Art”’.

Art, in the papers read, defined Art under the headings of social/cultural context, critical acceptance, a human activity, artistic theory and aesthetics theory. The following sections provide summaries of these approaches.

Social/cultural context• Definitions of art are really recommendations for the

use of art according to a set of rules. But there is no one set of rules regarding art; art must always be viewed in its cultural context. After all, if there were rules for creating works of art, no one would have trouble producing art, critics would agree about the product and audiences would not be troubled by its “meaning“ (Teddy Brunius) (“The uses of works of art”, Journal of Aesthetics and Art Criticism”; 15: 35, 1956.)

• Disputes occur due to what critics mean when they refer to something as being a work of art … these disputes must always be examined in the social context in which they occur. Paul Ziff) (“Defining a work of art”, Philosophical Review, 62; 58–59, 1953)

Critical acceptance• A work of art … is a picture, a play, a poem, etc. which

has reached the public, been pronounced favourably upon by competent critics (Ruth Saw) (What is a work of art?” Philosophy; 36: 39–48, 1961.

• A work of art in the descriptive sense is (1) an artefact; (2) upon which some society or some sub-group of a society has conferred the status of candidate for appreciation. (George Dickie) (“Defining Art”, American Philosophical Quarterly; 6: 254, 1969.

Human activity• Art is a human activity which explores, and hereby

creates, new reality in a suprarational, visional manner and presents it symbolically or metaphorically, as a microcosmic whole signifying a macrocosmic (Eric Kahler) (“What is Art?”, in: Morris Weitz. Problems in Aesthetics. 157–171, 1959)

The process of making• … what any man makes, which deserves attention, can

qualify as art (Van Meter Ames, “Is it Art?”, Journal of Aesthetics and Criticism, 30:39–48, 1971)

Artistic theory• “art rests on an atmosphere of artistic theory” (Arthur

Danto) (“The Artworld”, Journal of Philosophy; 61: 571–584, 1964)

Aesthetics theory• Formalism and expressionism (Morris Weitz) (“The

role of aesthetics”, Journal of Aesthetics and Art Criticism; 15: 27–35, 1956.) Aesthetics theory is further subdivided into three sub-groups:• Intuition theory (Croce, 1913)• Voluntary theory (Parker, 2015)• Organic theory (Weitz, 1956)

• ‘Aesthetic object’ = ‘work of art’ (Monroe C. Beardsley) (“On art and the definitions of arts: A symposium”, Journal of Aesthetics and Art Criticism; 20: 175–198, 1961.)

Where to begin?What was a serendipitous, and timely, occurrence was a once-only exhibition at the National gallery of Victoria (NGV) in my home city of Melbourne. The Museum of Modern Art (MoMA), in New York, was undergoing extensive renovations and the NGV had arranged for a substantial part of MoMA’s collection to be displayed in a special exhibition at NGA (June–October 2018).

I had visited MoMA in New York several times, and the collection exhibited in Melbourne allowed me to re-acquaint myself with some of the collection, with this work in mind. The collection ranged from paintings, installations, industrial objects, musical instruments, furniture, graphic art, computer outputs and software displays, film, furniture, sculpture, and maps! The images in Figures 3 and 4 show just some of the exhibits.

Figure 2.


Looking at New York’s Museum of Modern Art (MoMA), which has a wide-ranging collection – what guided the assembly of the collection. About this Glenn Lowry, Director of MoMA, has said: “When [MoMA was] created in 1929, it was out of a fundamental belief that all of the visual arts were speaking to each other,” … it was the synthesis of a modern aesthetic that we were after … We’re interested in great works of art by great artists, regardless of how they were made” (Percival, 2018).

Filmmaker Ritwik Ghatak states that all art can only be considered art if it bears the imprint of one’s own self-expression (Shackleton, 2013).

Modern aestheticLooking at paintings – classic or contemporary – we know that we are looking at art. At school, we were taught to appreciate them and it was just accepted that they were ‘Art’. So, what makes paintings different from other drawings?

Craig A Elimeliah, in his piece on art Vs. design (2006) said that: “design in the commercial sense is a very calculated and defined process; it is discussed amongst a group and implemented taking careful steps to make sure the objectives of the project are met” … “art is something completely separate—any good artist should convey a message or inspire an emotion it doesn’t have to adhere to any specific rules, the artist is creating his own rules. … The composition simply flows from the hand of the artist”. And, as noted earlier, “the paths laid down by past artists establish a style … when that style or method is used by another artist, the art then turns into design”.

But, maps are included in galleries like MoMA – Vignelli’s 1972 map of the New York Subway system In 2004, MoMA acquired the original c. 1972 diagram and the 1970 graphics standards manual (signage and station information design and implementation). As well and three porcelain and enamel signs were specially produced for the Museum by the MTA NYC. Vignalli’s map had

appeared in an earlier MoMA exhibition: “Transportation Graphics: Where Am I Going? How Do I Get There?” (1967). (About the Vignelli map Steven Heller (2011) noted that: “Vignelli told me, the map was “created in B.C. (before computer) for the A.C. (after computer) era”.

Map-inspired artwork is also included in galleries – at the V&A (David Booth’s The Tate Gallery by Tube 1987, (a poster for London Underground) and, since 1992, the Tate Modern has displayed The Great Bear by Simon Patterson. It is interesting to note what Patterson has said about his piece:

“There is no code to be cracked in any of my work. Meanings may not be obvious, you may not get a joke, but nothing is really cryptic – I’m not interested in mystification. I like disrupting something people take as read. I am not simply pulling the rug out from people. I am not nihilistic. What interests me is juxtaposing different paths of knowledge to form more than the sum of their parts”. (Tate Modern on-line catalogue description – quoted in Greenberg, ‘The Word According to Simon Patterson, Tate: The Art Magazine, issue 4, winter 1994, p.47.)

The Booth and Patterson pieces can be viewed at:http://collections.vam.ac.uk/item/O219050/the-tate-

gallery-by-tube-poster-booth-david/ and https://www.tate.org.uk/art/artworks/patterson-the-great-bear-p77880 respectively.

Maps are also part of the MoMA collection, as noted earlier (Figure 4b).

Figure 3a. General exhibition space

Figure 3b. Furniture


So, where to begin? When considering how to address the process for finding a method to determine if (selected) maps could be considered to be art, other design-focussed disciplines were investigated. These were film, architecture (the starting point for this piece of work), furniture, industrial design and automobiles. The following sections address the concept of whether other creative practices can be considered to produce ‘Art’.

FilmWhite (2014) has said that “Film is a visual art form and television is merely a visual medium”. Film is the imaginative use of space or scale seen in an art that evolved from painting, sculpture, theatre (sic.) and opera”. And Simmons (2011), … “Movies are “consciousness expansion” As a moviegoer, Simmons wanted … “messages and complexity and contradiction and originality”.

A 2012 edition of Sight and Sound ranked Alfred Hitchcock’s Vertigo, his masterful piece on loss and obsession from 1958, as the greatest film of all time. About the film, the article said that its director, Alfred Hitchcock, when commenting on the success of his films said: “[commercial and critical] success rested on his utilisation of a ‘pure cinema’: an ability to tell a story solely through editing, camera placement, sound and mise en scène (the combination of lighting, set design and art direction which, when placed together, create an overall impression of a single shot or scene) rather than through dialogue”. The film was considered to be mostly a visual art.

ArchitectureBoroson, (2016), in a diagram that accompanied his writing, said that architecture consisted of a combination of Art, Science, Lateral Thinking and Linear Thinking. The sum-total makes-up ‘Architecture’.

The advantage of considering architecture is that there are many exhibitions and competitions held to assess the merit of architectural designs. And, if some architecture can be considered to be ‘Art’ – perhaps Falling Water by Frank Lloyd Wright, the Barcelona Pavilion by Mies van der Rohe IM Pei’s tower office building in Boston, ….

Could the awards judging criteria be applied to the determination of ‘maps as art’?

Looking at two awards criteria: the Frederick Kiesler Prize for Architecture and the Arts, and the annual RIBA Stirling Prize for the best building in the UK.

The Austrian Frederick Kiesler (Austro-American architect (1890–1965)) Prize for Architecture and the Arts (https://www.kiesler.org/en/kiesler-prize/) is determined by an. “international jury of experts, comprising theorists, artists and architects, bestows the award for “extraordinary achievements in architecture and the arts that relate to Frederick Kiesler’s experimental and innovative attitudes and his theory of ‘correlated arts’ by transcending the boundaries between the traditional disciplines” (Kiesler Foundation, 2018). Its first winner was Frank Gehry, renowned architect of such buildings as the Walt Disney Concert Hall, Los Angeles.

Figure 4a. Space Invaders computer game Figure 4b. Bauhaus Aussterlung map, 1923


The RIBA Stirling Prize is awarded annually to the best building in the UK. The 2017 winner was Hastings Pier, by dRMM Architects (RIBA 2018) (Figure 5).

The judging criteria was:

• design vision; • innovation and originality; • capacity to stimulate, engage and delight occupants and

visitors; • accessibility and sustainability;• how fit the building is for its purpose; and• the level of client satisfaction.

This could be applied to judging whether certain maps can be considered to be ‘Art’. More about this later in this piece.

FurnitureSome furniture has been considered to be ‘High Art’. And, some vintage modern furniture has become the new collectible of the art world. At Art Basel in Miami Beach, modern and contemporary pieces were displayed as art. Furniture was marketed as art, not antiques (Giovannini, 2007).

Australian designer Marc Newson (1963–) had his Lockheed lounge (Figure 6a), 1986–88, acquired by the National Gallery of Victoria, Melbourne, Australia, and another Lockheed piece is in the MoMA collection. It was exhibited at the ‘Mid 20th Century Contemporary Art, Decorative Arts & Paintings Gallery 3, NGV International and NGV, the Common Ground exhibition (2017) (Edgar,2016). Simone LeAmon, curator of the Common Ground exhibition “It’s modelled like a curvaceous reclining body,” The hard, aluminium-clad fibreglass body resembles a Henry Moore sculpture (Figure 6b). In 2015, the Lockheed sold for £2,434,500 million at Phillips in London. (Newson joined Apple in September 2014) (Dalton 2018).

Edgar (2016), commenting on the Marc Newson solo exhibition, ’Marc Newson: At Home’, in the Philadelphia Museum of Art, 2013 said of this piece:

… “Both [art and design] rely on creativity and both engage with contemporary life to deliver new understanding, thinking and ways of looking at life”.

Figure 5. Hastings Pier

Figure 6a. LC2 Lockheed chaise lounge Figure 6b. Henry Moore ‘Draped Reclining Figure’, 1978


Industrial DesignAccording to Bower (2012), there is a modernist obsession with elevating industrial design to an art form. There exists the play on form and function.

Looking at one of the pieces in the Melbourne MoMA exhibition – Sven Wingquist Self-Aligning Ball Bearing (1907) (Figure 7). The ball bearing was among the first works to enter The Museum of Modern Art’s design collection, in 1934 (MoMA, 2004). In the machine age (1920–30s) – parts of machines were appreciated for their beauty, which came from the purity of abstract geometry. 1934.

AutomobilesIn 2018, the British motor magazine Autocar updated its 2017 report on what it considered to be the best 100 cars – ever (Bremner, 2017, 2018). The no. 1 on their list for both years was the 1961 Jaguar E-Type Series 1 Coupé (1961–1975), designed by Malcolm Sayer (1916–1970). Second was the Lamborghini Muira (1966–1973), designed by Marcello Gandini (1938 – ). The Jaguar needs no introduction. But, the Lamborghini Muira, when both doors are open, the front view resembles the head of a bull. The Lamborghini logo incorporates a bull. This became part of the design for the car. (An E-Type is part of the MoMA collection (Maronese, 2018)).

However, for my choice of an automobile, which I consider to be Art, I need to refer to another example, with apologies to my British readers – the Cisitalia “202” GT (1946) (Figure 8) (production 1947–1952), designed by Pinin Farina. My reason for this is that, firstly, this car is part of the collection of the Metropolitan Museum of Art (MoMA) and, secondly, I think that this is a wonderful piece of design, that, when one looks at it, “it’s just Art”.

MoMA was the first art museum to collect and exhibit automobiles (MoMA, 1951) and the Cisitalia was the first automobile to be included in the museum’s ‘functional design’ collection. This was done in 1972 (Stigh, 2012). Around 170 vehicles were built. This design, and its construction method, is said to be the vanguard of all car designs to come.

Here’s how the museum decides if a car is worthy of its collection: “the great achievements” in car design – “the specific moments where the technology, the craft, the artistry, and the cultural importance crosses the threshold into a masterpiece.” Paul Galloway, a specialist with MoMA’s Architecture & Design Collection, … “Is this object important? Did this change history?” … [it] Assists the museum to “document contemporary creativity” (Maronese, 2018).

About this car, Leslie Kendall, curator of the Petersen Automotive Museum (Los Angeles), said: “The Cisitalia represented a new direction in automobile body design, one that every other automobile manufacturer would ultimately follow. It is so artfully sculpted and perfectly proportioned that I cannot help but compare it to a precious gem” (Gulett, 2015). And, MoMA says:

“the Cisitalia offers one of the most accomplished examples of coachwork (the automobile’s body) conceived as a single shell.” … “Before the Cisitalia, the prevailing approach followed by automobile designers when defining a volume and shaping the shell of an automobile was to treat each part of the body as a separate, distinct element” (MoMA, 1951).

About automobiles and art, automobiles blogger ‘Isiah’ (2014) notes: “So I make the case that although car may have the purpose of being functional, many of it’s design elements can include truly artistic touches. As those pieces are incorporated into what the car becomes as a sum of the whole, the car itself may become an element of art.”

Therefore, the argument that has been put forward here is that many elements contribute to an automobile’s design. ‘Art’ in the automobile could be considered to be the sum of these parts.

Figure 7. Sven Wingquist Self-Aligning Ball Bearing, 1907

Figure 8. Pininfarina (Battista “Pinin” Farina) Cisitalia 202 GT Car, 1946


Considering whether a map is Art – as-sembling evaluation criteriaWhat can be easily done is to look at art theory and apply the criteria that can be used to evaluate ‘What is Art’. If I assemble a composite set of criteria from the section on Art Theory covered earlier in this paper, I can assemble this set of criteria to use to judge if a map can be considered to be Art (when judged by this composite set).

The criteria set is:

• Cultural/social context – critical acceptance by society or some sub-group of a society

• The process of making – a human activity which explores and creates new reality in a suprarational, visional manner and presents it symbolically or metaphorically, as a microcosmic whole signifying a macrocosmic

• A discovery and development of elementary principles of nature into beautiful forms suitable for human use – Frank Lloyd Wright – 1957 (Popova, 2012).

A map that fits the criteria set is William Smith’s first Geological Map of England and Wales (Figure 11). And, as Simon Winchester (2001) notes, the first geological map of anywhere!

And, looking outside Art – at Architecture. As noted earlier, some architecture has been considered to be Art, so, if we evaluate a map against an Architectural award criteria, does a sample map (my selection here is a schematic map!) ‘make the grade’. Here I will use the RIBA Stirling Prize for the best building in the UK. The award judging criteria, as noted earlier is:

• Design vision• Innovation and originality• Capacity to stimulate, engage and delight occupants

and visitors• Accessibility and sustainability• Fit purpose• Level of client satisfaction

The schematic map chosen for evaluation is Harry Beck’s London Underground map (Figure 1a.). I argue that it works in all of these categories and, to support the penultimate evaluation consideration, in March 2006, viewers of BBC2’s The Culture Show and visitors to London’s Design Museum voted Harry Beck’s Tube map as their second-favourite British design of the 20th century in the Great British Design Quest. (The winner was the Concorde aircraft.) (Wikipedia http://en.wikipedia.org/wiki/Harry_Beck)

Warehouse theoryHowever, it must be noted that some writers speak against Aesthetics theory. Kennick (1958) has said that the definitions of aestheticians are use-less and the assumption

that all the arts share a common set of characteristics that clearly establishes them, as works of art is questionable. And, that all the efforts of the aestheticians have been to no avail.

What he proposes, as a useful, general, method for determining if an object is art, is Warehouse theory:

“a person is directed to remove all the art objects from a huge warehouse which contains a great variety of things. The individual is able to select the art objects “with reasonable success” even though he employs no definition of art in terms of a common denominator. A work of art is known when seen. On the other hand, the same individual is at a loss when instructed to bring out all the expressive objects or all those which possess significant form, because the person does not recognize what expressiveness and significant form are.

I decided to use warehouse theory as a rudimentary method to determine, from a set of randomly selected maps, which were deemed to be Art, when applying the Warehouse theory. To do this, as part of my presentation at the BCS/SoC UK Mapping Festival, in London in September 2018, I asked the audience (of about 80–100) to view my selected maps and, by a show of hands, state whether they thought that each map presented could, in their opinion, be considered to be Art (as per the Warehouse Theory). This would use James Surowiecki’s concept of The Wisdom of Crowds (2004), whereby if one asks a crowd, rather than a pair, the average should be quite close to the truth.

(I do acknowledge that this was a special ‘Crowd’, with a bias towards maps. It is my intention, in further work on this topic to undertake a wider survey, using a non-specialist, much bigger, crowd. As well, the se-lection of maps was biased towards British maps and maps of London, my intention being to make the pres-entation more appropriate to a mainly British audience, and a presentation in London.)

Twenty-two maps were shown to the audience, and their responses recorded. The results are listed below.

So, the Crowd has determined the outcome of which maps, from those presented during the presentation would be considered to be Art, when judged by Warehouse Theory.

I thought it interesting that Routes II, 1952 by Mona Hatoum was deemed to not be art, when it is part of MoMA’s collection and that David Booth’s The Tate Gallery by Tube, Simon Patterson’s The Great Bear and Aaron Koblin Flight patterns only received ~50% of the votes when they are part of the collections of the Tate Modern, V&A and MoMA respectively.

The reader can see if they agree with the ‘Wisdom of the (BCS/SoC UK Mapping Festival) Crowd’) by following the URLs listed in the table (which appears at the end of this article).


Figure 9. William Smith’s first Geological Map of England and Wales


Map Art? (w.r.t. Comments Warehouse Theory) Brad Washburn The Heart of the Grand Canyon, 1978 http://www.codex99.com/cartography/images/canyon/washburn_detail_sm.jpg ✓ Clear majorityTom Paterson The Heart of Canyonlands National Park 7 Clear majorityEduard Imhof – terrain sketch 7 Clear majorityEduard Imhof – relief painting Eduard Imhof https://payload498.cargocollective.com/1/19/637751/12277186/01_1500.jpg ✓ ~>50% Cartographics International Melbourne After Dark ca. 1980 https://mapdesign.icaci.org/2014/06/mapcarte-176365-melbourne-after-dark- by-cartographics-international-1979/ 7 Clear majorityHarold N. Fisk Geological map, 1944 https://www.google.com.au/ url?sa=i&source=images&cd=&ved=2ahUKEwj0mo6TrvjcAhWW FYgKHU6yDfEQjRx6BAgBEAU&url=http%3A%2F%2F www.hiddenhydrology.org%2Fprojects%2Fother%2Fmississippi-river-change% 2F&psig=AOvVaw1lXBpPPvlHPkr0CqyRcJ1p&ust=1534742066897912 ✓ ~>50%Pauline Baynes Middle-Earth https://www.theguardian.com/books/2016/may/03/jrr-tolkien-annotated-map- middle-earth-bodleian-lord-rings-hobbit#img-4 7 ~<50%Kenneth Field Lake Tahoe http://www.esri.com/esri-news/arcwatch/0118/~/media/Images/Content/ news/arcwatch/0617/artful-maps5-lg.jpg ✓ ~>50%Bollmann Maps Braunschweig, 1948 http://www.johngrimwade.com/blog/2017/03/27/the-incredible- bollmann-map-workshop-part-1/ ✓ Clear majorityHermann Bollmann Manhattan https://thevintagemapshop.com/products/1963-new-york ✓ Clear majorityMacDonald Gill The Wonderground Map of London Town, 1914, https://media.timeout.com/images/102977636/image.jpg ✓ ~>50%F. H. Stingemore Underground Map, 1931/32 http://uk.geocities.com/lhsoicher/images/stingemore.jpg ✓ Clear majorityOrdnance Survey 1st edition. One inch to one statute mile, 1805? http://nla.gov.au/nla.obj-231917049 7 Clear majorityCharles Booth London Poverty maps, 1889 https://commons.wikimedia.org/wiki/File:Poverty_map_old_nichol_1889.jpg ✓ Clear majorityPhyllis Pearsall A-Z Atlas and Guide to London and Suburbs, 1936, https://media.timeout.com/images/102977639/image.jpg 7 Clear majorityTfL Key Bus Routes in Central London https://78.media.tumblr.com/tumblr_lz440dRKRW1r54c4oo1_1280.jpg 7 Clear majorityStamen Maps Map of Central London https://cdn-images-1.medium.com/max/1400/0*rh2wZBELuRubJBOE.gif ✓ Clear majorityJames Cheshire and Oliver Uberti London: The Information Capital https://www.thetimes.co.uk/article/an-interactive-guide-to-life-in-london-lcbbtffsfk7 ✓ ~>50%David Booth (1908-1962) The Tate Gallery by Tube, 1987 V&A ✓ ~>50%Simon Patterson The Great Bear, 1992 Tate Modern ✓ ~>50%Mona Hatoum Routes II, 1952 MoMA 7 Clear majority


ConclusionThis contribution records my brief introductory foray into the topic of “Are (some) maps Art?”. Any research on this topic by a non-expert in the subject area – me – is fraught with danger. To those experts who may read this, please accept my apologies for my ‘run-through’ of Art Theory and the theory of Art, when applied to certain, selected, design disciplines.

However, please accept this paper, and its initial outcomes, as a contribution to better understanding what maps are.

I found this undertaking an enjoyable journey. The destination has not yet been reached. Stay tuned.

SourcesFigure 1a: https://assets.londonist.com/uploads/2016/05/

i875/1933.jpgFigure 1b: This work is in the public domain in its

country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. http://www.tate.org.uk/art/artworks/mondrian-composition-with-yellow-blue-and-red-t00648

Figure 2: Based on Pop Art: Revisit of Semiology of Graphics? Cartographic Perspectives, 2012

Figures 3a and 3b: Attribution: Author.Figures 4a and 4b: Attribution: Author.Figure 5: https://www.architecture.com/-/media/

gathercontent/hastings-pier/image-two/hastingspier1312alexderijkewebimage91jpg.

Figure 6a: Attribution: Saiko, 2009. Image covered by GNU Free Documentation License. https://upload.wikimedia.org/wikipedia/commons/5/5a/Ngv_design%2C_marc_newson%2C_lc2_lockheed_lounge_1985-86.JPG

Figure 6b: Attribution: By David Pickersgill – File:Reclining figure, Castleford Civic Centre – geograph.org.uk – 643586.jpg CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=22218296/ CC BY-SA 2.0 https://www.henry-moore.org/images/cache/lg/whats-on/hmsg-exhibitions/2018_out-of-the-block/web-press_lh-706_03_sm.jpg

Figure 7: Attribution: AuthorFigure 8: Attribution: thatguyeric-NonCommercial-

ShareAlike 2.0 Generic (CC BY-NC-SA 2.0) https://www.flickr.com/photos/thatguyeric/1898389

Figure 9: Attribution: British Library. Creative Commons CC0 1.0 Universal Public Domain Dedication. https://upload.wikimedia.org/wikipedia/commons/2/2a/ Geological_map_William_Smith%2C_1815_-_BL.jpg

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AuthorWilliam Cartwright AM is Professor of Cartography in the School of Science at RMIT University, Australia. He holds a Doctor of Philosophy from the University of Melbourne and a Doctor of Education from RMIT University. He has six other university qualifications – in the fields of cartography, applied science, education, media studies, information and communication technology and graphic design. He is the author of over 300 academic papers. His major research interest is the application of integrated media to cartography and the exploration of different metaphorical approaches for depicting geographical information. He was President of the International Cartographic Association (2007–2011) and Chair of the Joint Board of Geospatial Information Societies (now UN-GGIM: Geospatial Societies) (2011–2014). He is Co-Editor of the International Journal of Cartography. In 2013 he was made a Member of the Order of Australia (AM) for service to cartography and geospatial science as an academic, researcher and educator. In 2017 he was made an Honorary Fellow of the International Cartographic Association.

emotion mappinglondon underground map. looking at the map, it does somewhat resemble a piece of piet...

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