Wmrmecho

This huge star map tapestry is the work of Australian maker Sarah Spencer, who created it by hacking a 1980s-era knitting machine. Yes, this thing was knitted: it apparently took more than 100 hours and 15 kg (33 lbs) of (locally sourced Australian) wool to produce this 4.6×2.8-metre (15×9-foot) monster, which is accurate (with the caveat that an equatorial projection distorts familiar circumpolar constellations) and reasonably detailed: the constellations are labelled and the stars’ apparent magnitude is indicated. Space.com has the story. [Boing Boing]

AgentMaps is a new LeafletJS plug-in that allows you to create animated social simulations on an interactive map. These social simulations can take the form of simulated neighborhood commuting patterns, the spread of an epidemic in a town, traffic flow around an intersection or anything else that requires modelling the flow of agents around a location on a map. AgentMaps allows you to build and

An incident of map vandalism roiled the Internet last week. Users of several online services, including CitiBike, Foursquare and SnapChat, discovered that New York City had been relabelled “Jewtropolis” on the services’ maps: see coverage at Gizmodo, Mashable and TechCrunch. The problem was quickly traced to Mapbox, which provides maps to these services. Mapbox, understandably upset about the act of vandalism, soon figured out what the hell happened.

The problem was traced to OpenStreetMap, one of Mapbox’s data sources. On August 10 an OSM user renamed a number of New York landmarks, as well as New York itself, after a number of alt-right and neo-Nazi memes. The edits were quickly reverted and the user blocked—on OpenStreetMap. They nevertheless entered the Mapbox review pipeline, where they were, in fact, caught and flagged on the 16th, but a human editor mistakenly okayed the renaming of New York to Jewtropolis. A simple human error, but with a delayed fuse: the edit turned up on Mapbox’s public map two weeks later. When all hell broke loose on the 30th, the map was fixed within a few hours.

Vandalism of online maps isn’t a new thing: in 2015 Google ran into trouble when a series of juvenile map edits exposed the shortcomings of the Map Maker program’s moderation system and led to a temporary suspension of Map Maker (it closed for good in 2017) and an apology from Google. Anything involving user contributions needs a moderation system, and OpenStreetMap and Mapbox both have them. But moderation systems can and do still fail from time to time. (That’s a take on this incident that isn’t on Bill Morris’s list.)

Speaking of lost islands, invented places, myths and mistakes, our friend Alejandro Polanco’s latest project is this poster map of lost worlds—he calls it “the fantasy map I always dreamed of.” See his blog post (in Spanish) or the project’s Kickstarter page:

Over the last twenty years, in my work as a graphic designer and mapmaker, I have enjoyed reading numerous books on lost continents, mythological animals, phantom islands and cartographic errors. However, I have never found all those ingredients gathered in a single fantasy map. That’s why I decided to create “Lost Worlds,” a poster in which I have compiled some of the main details about lost continents, historical errors on famous maps, islands that once were believed to really exist, fantastic animals. . . . The documentation work has been meticulous and, for the final design, I have chosen the cases that I consider to be the most representative. It is, in short, a map to feed our imagination and our dreams.

Like his previous project, Minimal Geography, it’s full of inset maps and descriptive text. The main map locates lost continents, phantom islands and cryptid creatures; the inset maps include examples of old maps that contain the sorts of imaginary and erroneous features Edward Brooke-Hitching covers in The Phantom Atlas.

Alejandro is, as I mentioned, crowdfunding this map on Kickstarter, where it’s already past its (nominal) target. Available as a digital download; prices start at €6 (higher tiers include other products.

If Shetland gets relegated to inset maps all the time, that goes double for Alaska, which on maps of the United States gets reduced in scale too. In response, this map turns the tables by relegating the lower 48 (as well as Hawaii) to a tiny and crude inset map. The 17×25-inch paper map costs $15. [Maps on the Web]

Last month Lisa Charlotte Rost published a post on Datawrapper’s blog full of tips about choropleth maps: when to use them (and when not to), how to make them better (lots about colour use), along with some examples of good ones. Worth bookmarking.

She followed that up with another post focusing on one particular factor: the size of the geographic unit. Choropleth maps that shows data by municipality, county, region, state or country will look quite different, even if they show the same data. Averages tend to cancel out extremes. She gives the following examples:

Leonia, New Jersey’s decision to close its residential streets to non-residents (previously)—an attempt to deal with the traffic being routed that way by navigation apps like Waze—has also, like the apps that created the problem in the first place, resulted in some unintended consequences. On, for example, visiting relatives and local businesses.

Previously: New Jersey Borough to Close Streets to Congestion-Rerouted Traffic.

The Great Polish Map of Scotland, a giant concrete relief map 50 metres by 40 metres in size, was the brainchild of Jan Tomasik, a hotelier and former Polish Army soldier who was stationed in Scotland during the Second World War. He envisioned the map as a monument to Scotland’s hospitality to the visiting Polish soldiers. The map, designed and built by visiting academics from Kraków’s Jagiellonian University, was completed in 1979; it stands on the grounds of Barony Castle Hotel in Eddleston, which Tomasik had bought in 1968.

The hotel closed in 1985 (for a while), and the map began to deteriorate. In 2010 a campaign began to restore the map, which proved successful: the restored version of the map, complete with water surrounding the Scottish land mass, was unveiled to the public last Thursday, in the presence of the Scottish culture secretary and Polish diplomats.

A 3D digital map of the castle has also been announced, but it does not seem to be online.

Regrettably, Shetland is not included on the map. Nobody tell Tavis Scott.

The Ordnance Survey isn’t above an April Fool’s prank, it seems. For the April 2018 issue of Country Walking magazine, they created a fictional island in the Atlantic Ocean that “had been lost to the sea centuries ago, only for it to have now mysteriously risen out of the waves in need of mapping.” (Its name, “Hy-Breasal,” might have been a tip-off.) In a post on the Ordnance Survey’s blog, cartographer Mark Wolstenholme explains how he used existing OS mapping to create a made-up island in a very short time frame.

After an aborted attempt at cutting up Lundy, I chose the Outer Hebrides’ isle of Pabbay for the main part of our new island. To disguise its origin, I flipped and rotated the island. To achieve that, all the names, symbols and vegetation had to stripped off, and because OS Explorer mapping is a raster image, that meant a lot of pixel selecting in Photoshop. Another restriction with the raster, meant I could only rotate the island by 90 or 180 degrees. Any other angle would re-interpolate the pixels and the print quality would be lost.

To further disguise the island, I looked for a smaller island to add, this time taken from the Orkney Islands. This was joined by the addition of an area of sand and reworked low water line. To finish the shaping, I added a handful of rocky outcrops around the coast as well as some mud, sand and a redrawn high-water line through the dunes. A bigger loch was hand drawn and is unique to this island.

Adding new features and Easter eggs in Illustrator and Photoshop came next. Read the post for the details.

Holy cow—if you like fantasy maps, spend some time looking at New Orleans. WHAT IS EVEN GOING ON WITH THIS CITY?! If this came in from a freelancer, there are half a dozen things that would raise my eyebrows. pic.twitter.com/ApqYYWlE8d

— James L. Sutter (@jameslsutter) March 19, 2018

Don’t miss writer and game designer James L. Sutter critiquing New Orleans as though it was a city from a fantasy novel. A major criticism of fantasy maps, whether of cities or worlds, is their lack of realism: unrealistic rivers, mountains and so forth. New Orleans, with its totally unrealistic terrain, doesn’t pass the test. “Please clean up your map and resubmit when it follows the rules of a real-world city,” Sutter concludes.

Atlas Obscura is asking readers to draw a map of their perfect dream island and send it in to them. That’s something I can absolutely get behind.

If you could make an island to your exact specifications, what would it look like? What would make it unique—the true island of your individual dreams?

Maybe your island is made entirely of recycled bottles, or only accepts currency featuring Darth Vader. Perhaps your island is set up as a villains’ lair, or populated with magical creatures that don’t exist anywhere else in the world. Is your island an expansive paradise that will take years to explore, or a simple spot of sand surrounded by boundless ocean? Does it have a treehouse? A mansion? Is there a skull-shaped cave? A water park? A hidden base in a volcano? Mischievous monkeys? Pirate ghosts? A lost society of evolved super-beings?

You’ve got until, uh, tomorrow afternoon. Atlas Obscura will publish their favourites on Friday.

The University of Maine’s Canadian-American Center has published a map of indigenous place names in Canada:

Commissioned by Dr. Stephen J. Hornsby, Director of the Canadian-American Center, Coming Home to Indigenous Place Names in Canada was researched and designed by Dr. Margaret Wickens Pearce. The map depicts Indigenous place names across Canada, shared by permission of First Nations, Métis, and Inuit communities and people. The names express territorial rights and describe the shapes, sounds, and stories of sovereign lands. The names mark the locations of the gathering places, the communities, the places of danger and beauty, and the places where treaties were signed. The names are ancient and recent, both in and outside of time, and they express and assert the Indigenous presence across the Canadian landscape in Indigenous languages.

The map is available for purchase; a PDF is available for download for personal or educational use. [MAPS-L]

Previously: Mi’kmaw Place Names Digital Atlas.

The Chiswick Timeline, a public mural of historic maps of Chiswick, London, situated along the walls of the underpass next to the Turnham Green tube station, opened earlier this month. A project of Abundance London, the mural is a series of panels reproducing maps of Chiswick from as early as the late 16th century, and traces its development into the London suburb it is today. An accompanying fold-out book is also available. [Londonist]

The Associated Press has a story about Gladys West, now 87, an African-American mathematician who did pivotal early work on the calculations that led to GPS.

She collected information from the orbiting machines, focusing on information that helped to determine their exact location as they transmitted from around the world. Data was entered into large scale “super computers” that filled entire rooms, and she worked on computer software that processed geoid heights, or precise surface elevations.

The process that led to GPS is too scientific for a newspaper story, but Gladys West would say it took a lot of work—equations checked and double-checked, along with lots of data collection and analysis. Although she might not have grasped its future usage, she was pleased by the company she kept.

If that reminds you a bit of Hidden Figures, it’s not just you. And if reading this piece makes you want to read about the process that led to GPS, even if it’s too scientific for a newspaper story, it’s not just you either. [Blavity]

Planetary Maps for Children is a collection of pictorial maps of several moons and planets of the Solar System (so far: Venus, Mars, the Moon, Io, Europa, Titan, and Pluto and Charon), aimed at younger map readers. The maps are vibrant and colourful, full of sight gags and “fabulous make-believe creatures” and other sight gags. They’re available in digital, poster and virtual globe formats and available in several languages; the whole thing is a project of the ICA’s Commission on Planetary Cartography. [via]

People seem to be having an awfully hard time telling Africa apart from South America and swapping the former in for the latter: Exhibit A courtesy of Harrison Cole; Exhibit B via Reddit. [Gretchen Peterson, MapFail]

More on the privacy issues regarding Strava’s global heat map and its customer data. Now Wired UK is reporting that Strava’s data isn’t anonymous. Because you can compare your results with nearby users, all it takes is a local GPS tracklog—which can be created out of whole cloth, as Steve Loughran’s blog post demonstrates—to see detailed information about users. Wired UK:

By uploading an altered GPS file, it’s possible to de-anonymise the company’s data and show exactly who was exercising inside the walls of some of the world’s most top-secret facilities. Once someone makes a data request for a specific geographic location—a nuclear weapons facility, for example—it’s possible to view the names, running speeds, running routes and heart rates of anyone who shared their fitness data within that area.

The leaderboard for an area, the Guardian reports, can be extremely revealing. “The leaderboard for one 600m stretch outside an airbase in Afghanistan, for instance, reveals the full names of more than 50 service members who were stationed there, and the date they ran that stretch. One of the runners set his personal best on 20 January this year, meaning he is almost certainly still stationed there.”

Which makes the security issue regarding military personnel using fitness trackers even worse than simply the anonymous aggregate of the routes they take. Yes, this is very much an unintended and unforseen consequence of relatively innocuous social sharing bumping up against operational and personal security protocols; and it’s as much on military personnel to, you know, not use GPS-enabled devices that upload your location to a third-party server as it is on companies to have clear and effective privacy controls. This is very much the result of a whole lot of people not thinking things through.

Previously: Strava Heat Map Reveals Soldiers’ Locations.

In the real world, Urbano Monte’s 1587 map of the world exists as a series of 60 manuscript sheets designed to be assembled into a large world map—one that would be, at 10 feet square, the largest early world map known to exist.¹ As the David Rumsey Map Collection explains, “the whole map was to be stuck on a wooden panel 5 and a half brachia square (about ten feet) so that it could be revolved around a central pivot or pin through the north pole.”

But with only two copies known to exist, that ain’t happening. So what the Rumsey Collection has done, with the copy they recently acquired via Barry Ruderman, is to do it virtually, creating a digital edition of the map as a single image (see above). The digital Monte map was apparently revealed at the Ruderman Conference last October (previously).

The Rumsey Collection’s blog post has lots of images of the individual sheets, and explains how digitizing the map explains Monte’s choice of projection:

Monte wanted to show the entire earth as close as possible to a three-dimensional sphere using a two-dimensional surface. His projection does just that, notwithstanding the distortions around the south pole. Those same distortions exist in the Mercator’s world map, and by their outsized prominence on Monte’s map they gave him a vast area to indulge in all the speculations about Antarctica that proliferated in geographical descriptions in the 16th century. While Mercator’s projection became standard in years to come due to its ability to accurately measure distance and bearing, Monte’s polar projection gave a better view of the relationships of the continents and oceans.

The Mercator version of Monte’s map is here. A Google Earth KMZ file of the map as a digital globe is here. For background on Monte’s map, see the accompanying essay by Katherine Parker, “A Mind at Work” (PDF). For more coverage, see All Over the Map’s blog post.

Cat Rambo livetweeted some of the good bits from the online class on creating fantasy maps she taught with Alex Acks and Paul Weimer earlier this month (see previous entry), using the #mappingfantasy hashtag. Most of those good bits were common sense worldbuilding advice; by and large the intended audience is authors creating their fantasy worlds. They’re the ones who benefit most from basic geological or geographical advice, such as:

"Even though ice is frozen water, it's still water, and it wants to go downhill." –@katsudonburi #mappingfantasy

— RainbowRiotRambo (@Catrambo) December 16, 2017

Other tips would be familiar to cartography students.

"Every map has a viewpoint, whether or not you're explicitly telling the reader that." @PrinceJvstin #mappingfantasy

— RainbowRiotRambo (@Catrambo) December 16, 2017

Here’s a point that makes sense from a worldbuilding perspective, but it has led to the cliché that every point on the map has to be visited:

Your maps should show the areas and features that are relevant to your story. If it's important to the narrative, it should appear on the map. @PrinceJvstin #mappingfantasy

— RainbowRiotRambo (@Catrambo) December 16, 2017

On the other hand, there were some subversive bits that are so prosaic and pregnant with meaning that I’d love to know the context.

As the CEO of YouTube, I’ve seen how our open platform has been a force for creativity, learning and access to information. I’ve seen how activists have used it to advocate for social change, mobilize protests, and document war crimes. I’ve seen how it serves as both an entertainment destination and a video library for the world. I’ve seen how it has expanded economic opportunity, allowing small businesses to market and sell their goods across borders. And I’ve seen how it has helped enlighten my children, giving them a bigger, broader understanding of our world and the billions who inhabit it.

But I’ve also seen up-close that there can be another, more troubling, side of YouTube’s openness. I’ve seen how some bad actors are exploiting our openness to mislead, manipulate, harass or even harm.

In the last year, we took actions to protect our community against violent or extremist content, testing new systems to combat emerging and evolving threats. We tightened our policies on what content can appear on our platform, or earn revenue for creators. We increased our enforcement teams. And we invested in powerful new machine learning technology to scale the efforts of our human moderators to take down videos and comments that violate our policies.

Now, we are applying the lessons we’ve learned from our work fighting violent extremism content over the last year in order to tackle other problematic content. Our goal is to stay one step ahead of bad actors, making it harder for policy-violating content to surface or remain on YouTube.

More people reviewing more content
Human reviewers remain essential to both removing content and training machine learning systems because human judgment is critical to making contextualized decisions on content. Since June, our trust and safety teams have manually reviewed nearly 2 million videos for violent extremist content, helping train our machine-learning technology to identify similar videos in the future. We are also taking aggressive action on comments, launching new comment moderation tools and in some cases shutting down comments altogether. In the last few weeks we’ve used machine learning to help human reviewers find and terminate hundreds of accounts and shut down hundreds of thousands of comments. Our teams also work closely with NCMEC, the IWF, and other child safety organizations around the world to report predatory behavior and accounts to the correct law enforcement agencies.

We will continue the significant growth of our teams into next year, with the goal of bringing the total number of people across Google working to address content that might violate our policies to over 10,000 in 2018.

At the same time, we are expanding the network of academics, industry groups and subject matter experts who we can learn from and support to help us better understand emerging issues.

Tackling issues at scale
We will use our cutting-edge machine learning more widely to allow us to quickly and efficiently remove content that violates our guidelines. In June we deployed this technology to flag violent extremist content for human review and we’ve seen tremendous progress.

• Since June we have removed over 150,000 videos for violent extremism.
• Machine learning is helping our human reviewers remove nearly five times as many videos than they were previously.
• Today, 98 percent of the videos we remove for violent extremism are flagged by our machine-learning algorithms.
• Our advances in machine learning let us now take down nearly 70 percent of violent extremist content within eight hours of upload and nearly half of it in two hours and we continue to accelerate that speed.
• Since we started using machine learning to flag violent and extremist content in June, the technology has reviewed and flagged content that would have taken 180,000 people working 40 hours a week to assess.

Because we have seen these positive results, we have begun training machine-learning technology across other challenging content areas, including child safety and hate speech.

Greater transparency
We understand that people want a clearer view of how we’re tackling problematic content. Our Community Guidelines give users notice about what we do not allow on our platforms and we want to share more information about how these are enforced. That’s why in 2018 we will be creating a regular report where we will provide more aggregate data about the flags we receive and the actions we take to remove videos and comments that violate our content policies. We are looking into developing additional tools to help bring even more transparency around flagged content.

A new approach to advertising on YouTube
We’re also taking actions to protect advertisers and creators from inappropriate content. We want advertisers to have peace of mind that their ads are running alongside content that reflects their brand’s values. Equally, we want to give creators confidence that their revenue won’t be hurt by the actions of bad actors.

We believe this requires a new approach to advertising on YouTube, carefully considering which channels and videos are eligible for advertising. We are planning to apply stricter criteria, conduct more manual curation, while also significantly ramping up our team of ad reviewers to ensure ads are only running where they should. This will also help vetted creators see more stability around their revenue. It’s important we get this right for both advertisers and creators, and over the next few weeks, we’ll be speaking with both to hone this approach.

We are taking these actions because it’s the right thing to do. Creators make incredible content that builds global fan bases. Fans come to YouTube to watch, share, and engage with this content. Advertisers, who want to reach those people, fund this creator economy. Each of these groups is essential to YouTube’s creative ecosystem—none can thrive on YouTube without the other—and all three deserve our best efforts.

As challenges to our platform evolve and change, our enforcement methods must and will evolve to respond to them. But no matter what challenges emerge, our commitment to combat them will be sustained and unwavering. We will take the steps necessary to protect our community and ensure that YouTube continues to be a place where creators, advertisers, and viewers can thrive.

Susan Wojcicki, CEO of YouTube

In an article I published in 2013, I argued that one key difference between fantasy maps and the real-world medieval and early modern maps they purport to imitate is blank spaces: fantasy maps are full of blank spaces (that which is not in the story is not on the map), whereas real-world maps were covered in cartouches, sea monsters, inset illustrations and other embellishments. One of my sources for that article was a book by Chet Van Duzer: Sea Monsters on Medieval and Renaissance Maps (reviewed here).

Recently Van Duzer has been giving talks on the very subject of the lack of empty spaces on old maps. Which, as you can imagine, is very relevant to my interests. In October he spoke on the subject at the Barry Lawrence Ruderman Conference on Cartography, and earlier this month he gave a similar talk at the New York Map Society. Here’s the abstract from the Ruderman Conference:

Historians of cartography occasionally refer to cartographers’ horror vacui, that is, their fear or hesitancy to leave spaces blank on maps that might be filled with decorations. Some scholars have denied that this impulse was a factor in the design of maps, but the question has never been examined carefully. In this talk I will undertake such an examination, showing that horror vacui was indeed an important factor in the design of maps, at least for some cartographers, from the sixteenth to the early eighteenth century. Some of the factors that motivated cartographers’ concern about empty spaces will also be examined, as will maps by cartographers who evidently did not experience this fear. In the eighteenth and nineteenth centuries maps began to be thought of as more purely scientific instruments, cartographic decoration declined generally, and cartographers managed to restrain their concern about spaces lacking decoration in the interest of presenting their work as modern and professional.​

But since I couldn’t make it to those events, all I had was that tantalizing abstract. (Publish something!) Fortunately, we now have a little more: Greg Miller has written a piece about Van Duzer’s research over on the National Geographic All Over the Map blog.

With Picturing America: The Golden Age of Pictorial Maps (University of Chicago Press, March 2017), Stephen J. Hornsby makes the case for the pictorial map as a distinct and significant genre of mapmaking that is worthy of study and preservation.

Because pictorial maps were artistic rather than scientific, Hornsby argues, they were ignored as a subject of cartographic study—“treated as ephemera, the flotsam and jetsam of an enormous sea of popular culture.”¹ As such they have not been preserved to the same extent as more strictly cartographic maps. (Being printed on cheap acid paper didn’t help.) But as products of popular culture they were distinctive—and ubiquitous. “By World War II,” he writes, “pictorial maps had created a powerful visual image of the United States and were beginning to reimagine the look of the world for a mass consumer audience.”² They were so prevalent, I suppose, that they were invisible. Taken for granted. It frequently falls to the historian of popular culture to point out that the common and everyday is, in fact, significant. That’s what Hornsby is doing here.

Drawing mainly on the holdings of the Library of Congress’s Geography and Map Division, which served as the final home of pictorial map collections assembled by librarians like Ethel M. Fair and Muriel H. Parry, Hornsby explores the history of the pictorial map genre from the 1920s to the 1960s. Influenced by nineteenth-century advertising and bird’s-eye maps, as well as the work of MacDonald Gill, the illustrators of pictorial maps—Charles H. Owens, Jo Mora, Ernest Dudley Chase, George Annand, Ilonka Karasz, C. Eleanor Hall—created advertisements, posters, brochures, and maps for news organizations. In many ways their work was the infographics of their time; like medieval mappae mundi or early modern maps with sea monsters, pictorial maps were able to impart a good deal of qualitative information that would otherwise be unmappable, and with a distinctive artistic flair.³

After fifty-four pages of essay describing and analyzing his subject matter, Hornsby moves on to six sections of plates, beautifully reproduced, organized by theme rather than by date or artist: Maps to Amuse (maps featuring cartoons, maps that exaggerate one state at the expense of the rest); Maps to Instruct; Maps of Place and Region (including city maps that can be seen as the direct successor to bird’s-eye maps, only with a lot more colour and whimsy); Maps of Industry (tourism maps, rail and shipping maps, industrial promotion), Maps of War (where oblique views of the globe came into fashion), and Maps for Postwar America.

That last section highlights an important fact about pictorial maps: they were very much a generational project. Pictorial maps waned as these illustrators retired or passed on and as photography gained traction in commercial art.⁴ Which highlights Hornsby’s point that pictorial maps were a coherent genre, born out of common influences and the creation of a specific group of people, at a specific moment of time. Picturing America recaptures that whimsical, vibrant, beautiful moment.

For more on Picturing America, see All Over the Map’s profile from last March.

I received a review copy from the publisher.

Amazon | iBooks

Excellent Twitter thread from Jeannette Ng talking about old maps in the context of fantasy map design. It’s a subject near and dear to my heart: fantasy maps are essentially modern maps whose design language post-dates 16th- or 17th-century mapmakers like Olaus Magnus and Joan Blaeu; Ng talks about what are essentially the non-geographic purposes of old maps, and as I understand things she is entirely correct. Start here and scroll down.

Drawing Maps for your Fantasy World,
aka Maps Aren’t Always About Landscape Geography:
A thread. pic.twitter.com/1mDrtn6cSK

— Jeannette Ng (@jeannette_ng) October 20, 2017