Sign in the Service of the State.

Map is an important to get any unknown place, I’ve been using maps for a variety of purposes for a long time. I have never really thought about the process of making maps. I have good chance to read the book “sign in the service of the state’ and impressed the example of he North Carolina State Transportation Map. If you don’t know this map, you can well enough imagine it, a sheet of paper-nearly 2 feet by 4 feet capable of being folded into a handy pocket or glove compartment-sized 4-by-7 inches. In this article, looking at the legend of the North Carolina map as an example, I explain the words the author wants to say a little more.

A wide variety of information can be accessed on a single sheet of paper. For first-time travelers, information on malleable travel spots is given in the lower-left corner, while those for Ferrari are in the lower right. This article goes into depth, explaining the North Carolina transport map as the Legends of the Map.

Obviously, this legend bears a heavy burden of positively reflecting the use of this map, let alone the rest of the map. The reason the plural is emphasized is that in this case the first and primary “user” was North Carolina, a fact that is less overlooked than ignored, rejected, or suppressed. Promotional devices (due to other uses) as advertisements that many are more likely to take a closer look at and even carefully preserve; So one is offered at a welcome center just inside the state borders, another at visitor centers, at the booths of state fairs, and in response to requests from potential tourists, immigrants and industrial location experts. This is perfectly evident both in the “guide to places of interest” and in the choice of photos that adorn it (unless we go back, and the “guide” is, first of all, how to justify a photo, like the text of National Geographic), but It is less clear in the legend itself.

There is also no need due to the “obvious” nature of map symbols, as the author can use Robinson’s quote to assert that “a non-obvious symbol should not be used on a map unless it is explained in the legend”. They don’t recognize puzzles through context, skip them, or ask anyone for an explanation. Some texts are provided with glossaries but are easily distributed with little references, such as map legends. But his familiarity with the reader’s sign never becomes an attribute of the sign. Even the most transparent symbols are opaque to those unfamiliar with the code. It cannot be easy to clarify the purpose of a legend when you put a lot on one page on a map, but it’s not a good idea to write down everything you want to say when you’re writing. A map is like an essay. Just as it is not a good article to include everything you think about if you try to include everything you want to include on a single map, the purpose of its information delivery may be blurred. As we have seen, the most fundamental claims of the map is to be a system of facts, and the history of maps has most often been written as the story of their ability to present those facts with ever-increasing accuracy. That this system can be corrupted everyone acknowledges none are more vehement in their exposure of the “propaganda map” than mapmakers who, having denounced the usage, feel but the freer in passing off their own products and anything other than the semilogical systems they have no choice but to be.

Have you ever thought about code? It looks like a mathematical sign, but it is used as a language, and when our language is written as a sign, the sign acts as a descriptive language. Commands must be written in exactly the presented code, and even if you put a lot of this and that, it doesn’t work well, and it seems that you don’t understand the command.

For example, there is nothing unavoidable (necessary) in the relationship between the driver’s intention to turn left with his arm out the left window (actually mostly replaced by a flashing light on the left window of the car), the driver’s pointing at the sky and More than anything in between intentions to turn right (although there have been some historical coincidences that have undoubtedly helped make it customary). In other words, the sign is a creature of the code, and through its loss it is rendered fat as a component, and there is an embodied signified separate from the meaningless signifier. It is a codification with a symbol attached, nothing else.

In each of the symbolic, linguistic, structural and temporal codes, all the physical properties of concrete instances are embodied in symbols, arranged, arranged and organized by the display codes. Title, legend box, map image, text, illustration, insert map image, scale, instructions, chart, apple, diagram, photo, description, arrow, decoration, color scheme, typeface are all selected, layered and structured to achieve your speech : Consistency, clear discourse. It is a matter of the structure of the picture plane, the surrounding map. What’s in the center and what’s on the edges, what’s Williamsburg’s fluorescent pinks and blues, whether the paper becomes stiff or loose with (obvious) age Whether the map image predominates or takes its place, repeated folds are made of rubber sheets and It’s like.

Last year, I was tasked with drawing a map in one of the client’s work. I designed a map of North Korea I had never been to. The unfamiliar city names and locations I saw for the first time were confusing. I was able to complete it through feedback with people from North Korea many times. Although this map was not complicated or legendary because it was to convey city information about food, it was difficult because of the characteristic of the map that language should be visualized and symbolically represented. Fortunately, the client likes my designed map and I can applicate how to design a map many things from this article in the future work.

North Korean map with food illustration.

Maps, Knowledge, and Power

Theoretical Perspectives

In the new nature of maps book, the author explores the discourse of maps in the context of political power, and the approach is broadly iconological. Maps will be regarded as part of the broader family of value-laden images. Maps cease to be understood primarily as inert records of morphological landscapes or passive reflections of the world of objects but are regarded as refracted images contributing to dialogue in a socially constructed world.

The notion of language more easily translates into historical practice. It not only helps us to see maps as reciprocal images used to mediate different views of the world but it also prompts a search for evidence about aspects such as the codes and context of cartography as well as its content in a traditional sense. A language-or perhaps more aptly a “literature” of maps-similarly urges us to pursue questions about changing readerships for maps, about levels of carto-literacy, conditions of authorship, aspects of secrecy, and censorship, and also about the nature of the political statements which are made by map.

Example 1) Pictured below is a world map of Ptolemy.
The original, presumed to have been drawn around the 2nd century, has not yet survived, and the map we see today is said to have been copied around the 15th century. Would you believe this map of the world was drawn around the 2nd century? What is even more surprising is that it is a painting based on the words of merchants and officials who returned from round the world at the time.

He was the first map to draw the world by setting latitude and longitude, showing that the earth is round by expressing both latitude and longitude as curves. Nevertheless, it is quite surprising that it is so accurate that it is almost indistinguishable from the current hypocrisy and primary. Is it because of this? It is said that Ptolemy’s world map had a great influence on al-Idrisi’s world map and Cantino’s world map. Al-Idrisi’s world map has been looked at before, so let’s take a look at the Cantino world map below.

Political Contexts for maps

Maps of the World showing the Extent of the British Empire in 1886 was first published as a supplement to the Graphic newspaper.

Jan van Eyck’s Arnolfini portrait.

The Arnolfini Portrait by Jan van Eyck, created in 1434, leading masterpiece among Early Netherlandish Renaissance paintings. which shows the whealth and opulence of Giovanni Arnolfini and his wife Costanza Trenta (or Giovanna Cenami). National Gallery of Art in London has it in permanent collection.

The Arnolfini Portrait by Jan van Eryck, created in 1434, leading masterpiece among Early Netherlandish Renaissance painting which is currently in the collection of the National Gallery in London, is famous for its strikingly realistic and precise details, gorgeous colors, and the expression of spatial depth through experience rather than mathematical perspective.

In the brlincton magazine by Erwin Panfsky said on a small panel two portraits in oils, of a man and woman taking each other by the right hand, [note that, in reality, the man grasps the woman’s right hand with his left:] as if they were contracting a marriage; and they were married by Fides who joined them to each other.

In the mirror hanging on the wall in the background, in addition to the back of the Arnolfini’s, two men appear as witnesses of the wedding. In particular, one of them is Jan van Eyck, who appears to have painted to document and testify to the establishment of this marriage. The most important reason for interpreting this painting as a wedding scene is the act of a man and a woman holding hands, one of the important ceremonies in the wedding. The other is to take an oath before God to fulfill the promise, and Arnolfini’s solemn expression and raised right hand indicate that he is performing this ceremonial oath.

Another important factor in understanding relates to the various objects in the background. Each object that looks like ordinary furniture or objects inside a home has a symbolic meaning.

For example, a single candle lit over Arnolfini’s head symbolizes divine insight and wisdom, or an oath to marriage, and a wooden sculpture at the top of a furniture column to the right of the mirror is Saint Margaret, patron saint of women wishing to conceive. The dog symbolizes the faithfulness of the wife to her husband, and the shoes on the floor symbolize the sacredness of the space where the wedding ceremony is held.

In fact, to find an analogous composition in northern painting, we must go forward to Holbein’s Ambassadors. However, taking into consideration the fact that the London picture is both a portrait of two individual persons and a representation of a sacramental rite, we can explain its compositional scheme by comparing it not only with specimens of portrait-painting, but also zwith representations of marriage ceremonies to be found, for example, in the Bibles Moralisees or, even more a propos, in a French Psalter of about 1323. In it, the marriage of David and Michal, the daughter of Saul, is represented in a very similar way as that of Fiovanni Arnofini and Jeanned de Cename, only the bride does not act of her own accord, but is given away by her father who is accompained by a courtier and carries a glove as a symbol of his tutelary authority.