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    <title>Mapping as Process - Matthew Edney</title>
    <dc:date>2026-06-30T16:14:11+00:00</dc:date>
    <link>https://www.mappingasprocess.net/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>cartography critical_cartography mapping</dc:subject>
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<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2a26af9275f4/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=qLNiR4XGJBE&amp;t=351s">
    <title>Art and Power: Maps and Representation - YouTube</title>
    <dc:date>2026-06-30T16:07:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qLNiR4XGJBE&amp;t=351s</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Artists and curators explore how visual systems — from maps to museums — shape power, perception, and narrative. Together, they examine how representation and space can reinforce or resist dominant structures, revealing new ways art can challenge authority and reimagine belonging.]]></description>
<dc:subject>mapping cartography map_art decolonization critical_cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d37c9d96ae82/</dc:identifier>
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<item rdf:about="http://grahamfoundation.org/grantees/6838-the-proper-knowledge-the-proper-purpose?mc_cid=32687b7700&amp;mc_eid=05b43fae1b">
    <title>The Proper Knowledge / The Proper Purpose // Black People’s Topographical Research Center</title>
    <dc:date>2026-06-11T20:33:12+00:00</dc:date>
    <link>http://grahamfoundation.org/grantees/6838-the-proper-knowledge-the-proper-purpose?mc_cid=32687b7700&amp;mc_eid=05b43fae1b</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Proper Knowledge / The Proper Purpose animates the dispersed, suppressed and contested histories of the Black People’s Topographical Research Center (TOP), a radical think tank that operated in cities across the United States from the late 1960s through early 1980s. In storefront venues, from Chicago to Newark, Baltimore, Pittsburgh, Boston, Hartford, Los Angeles and Kalamazoo, the TOP offered a three-hour “tour” in which statistics, maps, and migration plans designed to concentrate Black demographic power were compiled and displayed, enacting a grassroots popular education model to elucidate the origins and manipulated desolation of Black urban life, not as fact but as design. A mobile display and immersive space recreating the TOP “tour” offers a site for participatory mapping and visioning sessions, through which inhabitants of the neighborhoods where TOP operated can make their own maps and imagine alternative environments.]]></description>
<dc:subject>blackness race topography alternative_school alternative_institutions statistics critical_cartography mapping community_design community_engagement</dc:subject>
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<item rdf:about="https://www.nytimes.com/2026/05/20/arts/design/obama-presidential-center-mark-bradford-chicago-art.html">
    <title>For the Obama Center, Mark Bradford Paints a Fierce and Luminous Chicago - The New York Times</title>
    <dc:date>2026-05-26T21:06:17+00:00</dc:date>
    <link>https://www.nytimes.com/2026/05/20/arts/design/obama-presidential-center-mark-bradford-chicago-art.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[For “City of the Big Shoulders,” Bradford drew from Chicago’s history as a central railway hub. He was particularly interested in the Illinois Central Railroad, which carried millions of Black Americans north during the Great Migration and reshaped the city culturally and politically in the 20th century.

The artist has long been drawn to trains as a liminal space where “you are not at home and you’re not at your destination,” he said. In his 20s, he rode trains across Europe after fleeing Los Angeles at the height of the AIDS epidemic, watching unfamiliar landscapes pass by. Those journeys allowed Bradford to imagine expansively and freely at a time when that felt increasingly out of reach as a queer Black man in the United States.

On his canvas, those rail lines appear as strands of yellow veins across the surface. They cut through thick accumulations of material — sealant, twine and shredded paper — that Bradford piles, tears and reworks. In places they weave around fragments of old train timetables, with city names and travel distances etched into the surface.

Bradford also wanted to underscore how maps have been used as instruments of control. That includes the redlining maps created in the 1930s by the Home Owners’ Loan Corporation, a government policy that graded neighborhoods for mortgage lending. Black communities were shaded in red and labeled “hazardous.” The resulting painting outlines the contours of a Chicago where neighborhoods remain sharply divided by race and wealth, and where disparities in housing, health and economic opportunity still fall along lines drawn nearly a century ago.

“Maps. Land. Power,” Bradford said. “It’s all there.”

“City of the Big Shoulders” took Bradford five years to imagine and complete. The meticulous artist estimates he ripped apart at least a dozen earlier versions along the way. Remnants of those attempts remain in the work, a palimpsest of earlier drafts. “I wanted the labor to be visible,” Bradford said, “because cities are messy.”]]></description>
<dc:subject>mapping murals transportation map_art</dc:subject>
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<item rdf:about="https://www.nytimes.com/2026/05/18/weather/nws-storm-prediction-center-maps-forecast.html">
    <title>When Tornado Weather Hits, These Scientists Break Out the Colored Pencils - The New York Times</title>
    <dc:date>2026-05-26T17:21:09+00:00</dc:date>
    <link>https://www.nytimes.com/2026/05/18/weather/nws-storm-prediction-center-maps-forecast.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Working with artificial intelligence, radar and satellites, they have the benefit of modern technology their predecessors could only have dreamed of to watch storms in real time.

But one thing has never changed: They still swear by those paper maps and pencils.

“A Norwegian meteorologist decades ago said analyzing a weather map by hand allows you to feel the weather in your veins,” said Bill Bunting, the deputy director at the prediction center. He leaned over a stack of paper maps as a tornado watch was being issued for Chicago. “You just get it into your head in a different manner.”

More than three dozen severe-weather experts at the prediction center work in shifts year-round to forecast thunderstorms, hail, damaging winds and wildfire weather...

Each shift is defined by a specific rhythm and a sense of professional urgency; a clock ticks down toward the moment the forecast must be issued. To find their bearings, forecasters often begin their work by hand-plotting the current weather, much as their predecessors did in 1948.

They print a large map of the United States. It shows the familiar outlines of coastlines and state borders, but it is also crowded with “wind barbs” — tiny dots with lines extending from them. The lines point toward the direction from which the wind is blowing; triangles attached to them indicate wind speed. Numbers huddled next to the dots represent surface pressure, temperature and dew point readings....

They find similar temperatures and trace lines called isotherms between them. Forecasters have different styles, drawing intervals every two, five or 10 degrees. Warmer and colder areas are shaded in blue, purple, orange or yellow. They connect pressure readings to create gradients, revealing the location of the low- and high-pressure areas that drive the wind.

Next, they map moisture, using green or blue for humidity and yellow or brown for dry air.

For a severe storm to form — the kind that can produce a tornado, but also hail and heavy rain — these ingredients must be forced to mix, usually at the “collision” of air masses. This is where the fronts appear: the blue lines with triangles and red lines with half-circles that mark the leading edge of an air mass. There is also the “dry line,” a dashed black line indicating the division between dry air and the warm, moist air that fuels a tornado.

These boundaries are the landmarks the forecasters look for before they turn toward their computer screens....

Today, desks at the Storm Prediction Centers are brimming with computer screens. This team, Mr. Hart said, is “essentially a human ensemble of a century of experience trying to get to the right answer quickly.”

And beside each desk is a blank spot for drawing maps.

Newcomers at the center are taught the analog tradition and given a pencil box. Mr. Hart, dumping his out on the table, said his container, held together by packaging tape, had belonged to a predecessor, Jack Hales, whose daughter had used it in school before he brought it to work in 1974.]]></description>
<dc:subject>weather prediction mapping materiality illustration meteorology material_intelligence</dc:subject>
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<item rdf:about="https://courses.newschool.edu/courses/LVIS3030">
    <title>Systems Aesthetics | Course Catalog | The New School</title>
    <dc:date>2026-05-24T20:30:45+00:00</dc:date>
    <link>https://courses.newschool.edu/courses/LVIS3030</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[What is a system? This course will examine questions of inputs and outputs, parts to whole, object, and environment. Toggling between form and content, we will explore a range of art historical and architectural sites in which the interaction between two or more parts produces outcomes and alternatives that are not the parts themselves. Building on Jack Burnham’s seminal 1968 essay, objects of inquiry will range from conceptual art, and institutional critique to new media, dance, theories of management, systems psychodynamics, and Group Relations. We will explore an array of work including John Chamberlain’s engagement with the RAND Corporation, Adrian Piper’s experiments with social transit systems, and Maria Eichorn’s reconfiguration of economic and legal structures. Alongside these inquiries, we will bridge the space between systems thinking and other forms of critique that interrogate the institutional norms that seek to condition social and subjective life. Engaging the class as a temporary institution, students will work collaboratively in affinity groups to develop a semester-long self-directed creative project. The course also fulfills the LVIS 3250 Practicing Curating requirement for Visual Studies majors/minors and Curatorial & Museum Studies minors.]]></description>
<dc:subject>systems networks infrastructural_literacy infrastructure mapping</dc:subject>
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<item rdf:about="https://www.artnews.com/art-in-america/features/21st-century-biggest-trend-not-style-systems-art-hans-haacke-1234786483/">
    <title>The 21st Century’s Biggest Art Trend is Not a Style.</title>
    <dc:date>2026-05-24T20:26:28+00:00</dc:date>
    <link>https://www.artnews.com/art-in-america/features/21st-century-biggest-trend-not-style-systems-art-hans-haacke-1234786483/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Jack Burnham coined the term “systems art” in Artforum in 1968, though many of the artists he wrote about then are better remembered as Minimalists. Kenneth Noland, Robert Morris, and Dan Flavin developed structured approaches to making art. They turned their studios into systems and found procedural ways of working through rules, seriality, and repetition: Morris, for instance, used modular units that were standardized but could also be reconfigured. Their creativity, in other words, was the product of generative constraints, and this way of working both mirrored and revealed the growing presence of protocols during the Cold War. 

One notable non-Minimalist in Burnham’s early schema is Hans Haacke, who, alongside Adrian Piper, is our best bridge connecting systems art’s past and present. The same year Burnham introduced the term, Piper devised a schema of geometric permutations, Sixteen Permutations of a Planar Analysis of a Square (1968). A few years earlier, Haacke created Weathercube (1963), a work he later refigured and renamed as Condensation Cube that visualized an atmospheric system: In his Perspex box, light, air, and moisture interact to produce condensation, effectively miniaturizing cloud formation. Then, in the wake of 1968’s political upheavals, both artists redirected their attention toward social systems—producing the work they’re best known for today...

 Ayoung Kim’s “Delivery Dancer” trilogy (2022–24) unfolds at the scale of one person—a gig economy delivery driver too often treated not as an individual, but as one of many, or as a means to an end. Some scenes show what happens when technological and economic systems collide: We watch as an app exerts power over the human operating it despite its inferior understanding of the world. The driver zips around Seoul, but the app treats the whole ordeal as if it were a video game replete with synthy sound effects. Since the app understands the world only in 2D, it penalizes the protagonist for failing to navigate a hilly terrain as speedily as if it were flat. What feels like sci-fi resolves into a Realist worker portrait as a technological fantasy of efficiency chafes against the fleshy, earthly physical world.     
Jumana Manna: L-section, from the “Water-Arm Series,” 2018; in “To Be Like Water,” 2021, at TENT, Rotterdam.
Photo Aad Hoogendoorn/Courtesy TENT, Rotterdam/©Jumana Manna

Constantina Zavitsanos scales down even further, to the subatomic level. Their sculptures enlist quantum interferometers—an apparatus of mirrors and lasers—as well as holograms to show that our culture’s insistence on independence is misguided and wrong on the most fundamental scale. Quantum physics posits that particles are not discrete but entangled—that everything is connected. Extending the logic, Zavitsanos shows that some things double when they are divided: Holograms, for instance, produce two images when cut in half. Should this not affect how we treat one another?   ]]></description>
<dc:subject>systems systems_art mapping logistics supply_chains infrastructure infrastructural_literacy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6718715a0dec/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:logistics"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:infrastructural_literacy"/>
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</item>
<item rdf:about="https://thefunambulist.net/magazine/fifty-years-after-soweto/excavating-amphibious-landscapes">
    <title>Excavating Amphibious Landscapes - THE FUNAMBULIST MAGAZINE</title>
    <dc:date>2026-05-12T20:01:22+00:00</dc:date>
    <link>https://thefunambulist.net/magazine/fifty-years-after-soweto/excavating-amphibious-landscapes</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[When my family’s fishing business was declining, they realized that, unlike agricultural lands, they could not sell, rent, or own water under the state systems. They had never imagined water as an individual property but always as a shared common with softer claims. There was a shift in the imagination of the landscape, which was hijacked by a language that the state recognizes, a language that prioritizes land-based imagination....

This expanded into a larger inquiry into how fishers inhabit and imagine amphibious landscapes in an urban village of Mumbai. The study is built on close observations, unstructured interviews, long conversations with neighbors, dérives through the village, and numerous boat rides with my father. Following routines across caste, class, gender, and occupation, I tried to map how the imagination of the landscape has shifted, and to excavate terms that open up the concept of changing spacetimes...

Fisher communities, along with many Indigenous communities, have always been looked at as people who don’t know their grounds, as shown by Dilip da Cunha in The Invention of Rivers (2019). Thus, various forms of research are done to look at ways to formalize infrastructure, sanitation, and pollution rather than understanding their resilient, situated articulations of space. This study challenges that narrative, suggesting that Indigenous vocabularies possess sophisticated spatial concepts attuned to dynamic, fluid landscapes.

Yet, while there is communal agency in mobilizing resources through this occupational transition, the spontaneity of recent transformations has often produced poorly crafted spaces, overlooking the migrant workers and families intertwined with Koli livelihoods.

]]></description>
<dc:subject>water mapping coastlines indigenous cartography ethnography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4f984af1a2dd/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:coastlines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigenous"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ethnography"/>
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</item>
<item rdf:about="https://thefunambulist.net/magazine/the-no-state-solution/ending-well-and-the-records-we-make-along-the-way">
    <title>Ending Well and the Records We Make Along the Way - THE FUNAMBULIST MAGAZINE</title>
    <dc:date>2026-04-08T04:06:14+00:00</dc:date>
    <link>https://thefunambulist.net/magazine/the-no-state-solution/ending-well-and-the-records-we-make-along-the-way</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This text by Courage Dzidula Kpodo is based on his architecture thesis. It is centered on a five-acre land project he undertook in mountainous Ghana understood as a living record shaped by history, ecology, and collective labor. Through the making of paths, the observation of trees, and the reuse of laterite walls, he proposes “future records”: material and social practices that honor past uses while enabling non-extractive, locally grounded futures beyond anthropocentric and Eurocentric design models....

I have come to see the land as a record, one that remembers more than the humans who move across it. But the land does not record alone. Recording is a continuous, reciprocal process: it happens as humans interact with the land, tracing paths, shaping soil, moving materials, planting, harvesting, and acknowledging its ecological and spiritual rhythms. A record in the land is not passive; it is not a sign of the past. It signals, accumulates, directs. It bears the stories of movement and labor, traces of hands and tools, echoes of what has been planted, harvested, and abandoned. But the question that anchors this text is not just what a record is, but what a record can do. Can a record be generative? Can it project forward, inscribing past and present into an evolving story? I call this possibility the future record....

this project explores how existing material forms: paths carved for cocoa transport, historic building materials, and spiritually-significant trees, can be reactivated to serve new economic, social and cultural functions. Rather than imposing external development models, the work asks: how can the land’s own material and economic record guide the creation of alternative futures, revitalizing not only livelihoods but also cultural practices, knowledge systems, and communal relationships of the people that live and work on it?...

Yet these paths were never fixed. As cocoa production declined in this region from the 1940s onward, the paths came to connect to farms cultivating a plural mix of crops, plantain, cassava, maize, and forested areas. Over the years, I walked and mapped the various paths that led to the 5-acre land. The gentlest was the path from Yaa Aso, the community named after its founding matriarch. It was also the longest, and the preferred route of harvest by most farmers atop the mountains.

Along this path, I noted adjacent functions of rest, gathering, and water stations. Hunters would track game with dogs along it. I began to imagine the path as the spine of a new kind of record: one that acknowledges its past as a conduit of extraction but does not repeat it, instead offering a framework for envisioning new, non-extractive futures....

he first of these material formations is the Newbouldia laevis tree, a spiritual and ecological anchor grown across West Africa’s societies as a protective plant. It is commonly known as the “African boundary plant,” since European travelers first observed it indicates property lines. It marks the separation between public and private and is believed to neutralize the potential negative intentions of a guest entering a home. Even though it bears no commodifiable product, its cultural significance predisposes the tree to a range of mechanical, medicinal, and spiritual functions. It is known by many names across West Africa; among the Anlo-Eʋe, who cultivate and use it the most in Ghana, it is called Avia....

The tree thus functions as a record of presence, belief and continuity, pointing to where people first rooted themselves and how they understood the land they would inhabit....

My ongoing work seeks to delink from anthropocentric and Eurocentric modes of recording and spatial production, particularly those that position the architect as the primary author of future worlds. Instead, it turns toward marginal ways of thinking and building that—precisely because they are excluded from dominant frameworks—offer more encompassing and holistic grounds for imagining shared, beyond-human futures. ]]></description>
<dc:subject>geoarchives land records archives paths trees borders mapping critical_cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6355f562955d/</dc:identifier>
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</item>
<item rdf:about="https://ocma.art/exhibitions/ximena-garrido-lecca-spectrums-of-reference/">
    <title>Ximena Garrido-Lecca: Spectrums of Reference – Orange County Museum of Art | UC Irvine Langson</title>
    <dc:date>2026-04-05T01:41:32+00:00</dc:date>
    <link>https://ocma.art/exhibitions/ximena-garrido-lecca-spectrums-of-reference/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Ximena Garrido-Lecca explores the impact of natural resource exploitation on different social groups and cultures, with a particular interest in how industrialization and urbanization have historically affected the relationship between nature and culture. For this exhibition, the artist investigates contemporary uses of silicon, the second most abundant element on Earth, after oxygen. Silicon is most commonly used today in the production of computer chips and solar panel technology. In this new body of work, Garrido-Lecca repurposes silicon scraps used to make computer chips and fragments from discarded solar panels into various forms, including a stained-glass window and vessels inspired by Pre-Columbian ceremonial ceramics. By connecting ancient ritualistic cultural practices, natural resources, science, and technology, Garrido-Lecca questions belief systems and the capitalist drive to produce new technologies.

This exhibition was organized by the Orange County Museum of Art and curated by Cassandra Coblentz.]]></description>
<dc:subject>sculpture indigenous silicon reuse recycling waste mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4ffbbf482816/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigenous"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:silicon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:reuse"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:waste"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
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</item>
<item rdf:about="https://www.culturehub.org/re-fest-2026">
    <title>CULTUREHUB — Re–Fest 2026</title>
    <dc:date>2026-03-22T18:28:38+00:00</dc:date>
    <link>https://www.culturehub.org/re-fest-2026</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Re–Fest is CultureHub's annual festival that brings artists, activists, and technologists together to explore our role in re-shaping the future. Our 2026 festival introduces the theme Re–Mapping, which gestures toward experiences of re-telling, re-seeing, and re-learning. Re–Mapping engages modes of mapping as a creative process that resists maps as stable products of universal knowledge.

2026 marks a year of transition for CultureHub as funding from the National Endowment for the Arts, which has been the main funder of Re–Fest and other CultureHub programs for over a decade, has abruptly dissipated. As federal priorities shift starkly away from arts and culture in the United States, CultureHub is mapping a new path forward to structure support for Re–Fest.

As we chart this change, the 2026 festival is occurring on a smaller scale with workshops, conversations, and performances that initiate a two-year exploration of the theme Re–Mapping. Re–Fest is building towards a larger-scale festival in 2027 that offers participants ways to unlearn dominant narratives and understand their place in history anew. ]]></description>
<dc:subject>mapping funding</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:021af7ae7531/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:funding"/>
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</item>
<item rdf:about="https://www.artforum.com/events/ursula-k-le-guin-larger-reality-oregon-contemporary-review-1234744523/">
    <title>Lucy Cotter on “Ursula K. Le Guin: A Larger Reality” Review</title>
    <dc:date>2026-03-22T01:23:09+00:00</dc:date>
    <link>https://www.artforum.com/events/ursula-k-le-guin-larger-reality-oregon-contemporary-review-1234744523/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[By foregrounding Le Guin’s own visual art, the exhibition conveyed that drawing was central to her research and writing process. The author started most of her twenty-one novels by drawing maps and experienced the writing process as a traversal of these imagined lands. In the main gallery, her beautifully hand-drawn maps followed natural topographies, marking places of memory, story, and ceremony, reflecting the anti-colonial drive of novels such as The Word for World Is Forest (1976) and Always Coming Home (1985). Vitrines housing Le Guin’s landscape and animal sketches alongside collected artifacts manifested her deep kinship with wildlife, rocks, and trees. A more whimsical side of her artistic life was revealed through cartoon drawings of a Balloon Cat, created with her then-teenage son and brought to life in a commissioned animation by James Raphael De Ocampo....

This legacy was alluded to in the wall text accompanying Rigid Binary I & II, 2018, a pair of textile wall hangings by Smillie. In one, the layering of white paint over textile and the inclusion of black, script-like sequins invoked a process of redacting and obscuring. In the other, patches of black and fabrics of different weights and transparencies suggested acts of repositioning. Placed opposite a vitrine housing a Le Guin manuscript in the process of being edited, both appeared to be forms of self-crafting. ]]></description>
<dc:subject>le_guin mapping writing methods editing exhibition</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5e0f16f04e89/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:writing"/>
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</item>
<item rdf:about="https://www.404media.co/mapping-googles-unmappable-city/?ref=daily-stories-newsletter">
    <title>Mapping Google's Unmappable City</title>
    <dc:date>2026-03-19T14:18:38+00:00</dc:date>
    <link>https://www.404media.co/mapping-googles-unmappable-city/?ref=daily-stories-newsletter</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[North Oaks has managed to largely stay unmapped on Street View because of the way the city handles its streets. In almost every city and town in the United States, property owners give an easement to their local government for the roads in front of their homes (or don’t have any claim to the roads at all). In North Oaks, homeowners’ property extends into the middle of the street, meaning there is literally no “public” property in the city, and the roads are maintained by the North Oaks Homeowners’ Association (NOHOA): “the City owns no roads, land, or buildings. ]]></description>
<dc:subject>mapping property privacy secrecy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9cda8d680290/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:privacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:secrecy"/>
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</item>
<item rdf:about="https://lcm.loc.gov/issue/march-april-2026/">
    <title>Library of Congress Magazine | March/April 2026</title>
    <dc:date>2026-03-19T00:22:20+00:00</dc:date>
    <link>https://lcm.loc.gov/issue/march-april-2026/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>mapping exploration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:935a2fc11483/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:exploration"/>
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</item>
<item rdf:about="https://docs.google.com/presentation/d/1f6ULHptBMIn_vNHsO8dbLxK9Mg6b7eTQjkCyoPhk7uQ/edit?slide=id.g386cff60cd1_0_3#slide=id.g386cff60cd1_0_3">
    <title>DJS W26 W09B2 Power Mapping - Google Slides</title>
    <dc:date>2026-03-09T03:57:50+00:00</dc:date>
    <link>https://docs.google.com/presentation/d/1f6ULHptBMIn_vNHsO8dbLxK9Mg6b7eTQjkCyoPhk7uQ/edit?slide=id.g386cff60cd1_0_3#slide=id.g386cff60cd1_0_3</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>power_mapping mapping higher_education</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:61e33bb700bd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:power_mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:higher_education"/>
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</item>
<item rdf:about="https://docs.google.com/presentation/d/1ZXm7dny8kGjx5p6eD4t8kfuVxR23Z-241sOOupO_vAs/edit?slide=id.p#slide=id.p">
    <title>Your turn to power map! - Google Slides</title>
    <dc:date>2026-03-09T03:57:07+00:00</dc:date>
    <link>https://docs.google.com/presentation/d/1ZXm7dny8kGjx5p6eD4t8kfuVxR23Z-241sOOupO_vAs/edit?slide=id.p#slide=id.p</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>power_mapping mapping pedagogy assignments</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f146d5c387d3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:power_mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:assignments"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://patternsofcommoning.org/mapping-our-shared-wealth-the-cartography-of-the-commons/">
    <title>Patterns of Commoning | The Commons Strategies Group</title>
    <dc:date>2026-03-02T00:07:30+00:00</dc:date>
    <link>https://patternsofcommoning.org/mapping-our-shared-wealth-the-cartography-of-the-commons/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Patterns of COMMONING
Mapping Our Shared Wealth: The Cartography of the Commons
By Ellen Friedman

If a picture is worth a thousand words, a map is likely worth a thousand pictures. Since 2010, hundreds of commons and “new economy” mapping projects have sprung to life. By depicting thousands of innovative social, environmental and economic initiatives, these maps reveal the complex stories of new systems emerging through the cracks of the old, like dandelions through broken concrete.

The maps serve many purposes at once. They help amass new groups of commoners by giving them shared digital platforms. As the maps become dense with user-contributed information, they show the growth of horizontal, participatory power, especially in reclaiming rights to manage shared resources. These resources include everything from valuable urban spaces and lakes to fruit orchards accessible to anyone, environmental projects and hackerspaces. The many maps depicting commons and people-centered economic projects tell the story of communities rejecting the status quo, reconnecting with]]></description>
<dc:subject>commons mapping cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d4a9adfac4b2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:commons"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://laughingsquid.com/isometric-nyc-map/">
    <title>An Interactive Isometric Pixel Art Map of New York City</title>
    <dc:date>2026-02-26T16:56:51+00:00</dc:date>
    <link>https://laughingsquid.com/isometric-nyc-map/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Engineer Andy Coenen (cannoeyed) created a massive isometric pixel art map of New York City that visualizes the city as seen from a bird’s eye view.

    A few months ago I was standing on the 13th floor balcony of the Google New York 9th St office staring out at Lower Manhattan. ….So here’s the idea: I’m going to make a giant isometric pixel-art map of New York City. And I’m going to use it as an excuse to push hard on the limits of the latest and greatest generative models and coding agents.

This map is fully interactive, allowing the user to visually walk the streets and avenues. The map can also switch to a version of the city after a snowfall, such as the 2026 Blizzard.]]></description>
<dc:subject>nyc mapping cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:91da108d6c7e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.platformspace.net/home/all-the-buildings-satellites-can-see-the-global-building-atlas">
    <title>PLATFORM: All the Buildings Satellites Can See: The Global Building Atlas</title>
    <dc:date>2026-02-25T20:03:07+00:00</dc:date>
    <link>https://www.platformspace.net/home/all-the-buildings-satellites-can-see-the-global-building-atlas</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Without presuming that ancient philological distinctions can be extrapolated to modern habits of mind, it's tempting to wonder if the difference between building and Gebäude explains why a German team at the Technical University of Munich recently mapped 2.75 billion buildings on the planet, a figure they claim is comprehensive. Putting aside the veracity of this number, the Global Building Atlas (GBA) is like an interactive, three-dimensional Nolli map, a digital figure-ground (and -air) diagram of the world, with building volume as its primary metric — all made possible by the thousands of satellites now networked in the sky that put real-time imagery of the earth within reach. One might think of GBA as an imaginary — and not merely innocent imagery — made possible by big data, GIS, and the funding supporting both. What this imaginary helps people imagine, how it directs questions, and what it skews is far less subtle than the distinction between building and Gebäude and of more far-reaching consequences.]]></description>
<dc:subject>mapping nolli buildings satellites</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7ebbd2bdfacf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nolli"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:buildings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:satellites"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://ohny.org/activity/the-city-below/">
    <title>The City Below: The Secret Mapping of NYC’s Subsurface - Open House New York</title>
    <dc:date>2026-02-23T05:01:34+00:00</dc:date>
    <link>https://ohny.org/activity/the-city-below/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Discover what lies beneath New York City’s streets, and why mapping it matters.

Almost daily, construction crews break ground only to discover gas pipelines, fiber optic cables, or steam mains in the way of vital upgrades. These unexpected findings cost the City millions in delays and pose a threat to emergency management.

To solve this problem, the City is working to create the first complete and accurate map of everything—water and sewer lines, electrical conduits and natural gas pipelines—beneath our city’s streets. This technological feat will bring transparency to the “spaghetti-like jumble” and transform how the city builds, maintains, and protects its infrastructure.

Join Open House New York to hear directly from the New York City Department of Design and Construction (DDC) and partners, which dig up the streets every day to install essential sewers and water mains underground that improve our City. Thomas Wynne, Deputy Commissioner of Infrastructure for DDC, will discuss the massive subsurface coordination effort required between public and private entities to meet the needs of our growing City while keeping the heat on and New Yorkers connected via high-speed internet. Discover how the underground world works and learn why mapping it is an investment in future generations.]]></description>
<dc:subject>mapping nyc subterranean underground infrastructure</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:83feef360f2c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:subterranean"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:underground"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:infrastructure"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://brooklynrail.org/2026/02/art/mandy-el-sayegh-with-chloe-stagaman/">
    <title>MANDY EL-SAYEGH with Chloe Stagaman - The Brooklyn Rail</title>
    <dc:date>2026-02-18T01:41:22+00:00</dc:date>
    <link>https://brooklynrail.org/2026/02/art/mandy-el-sayegh-with-chloe-stagaman/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Figure, Field, Grid features several “Net-Grid” paintings, which you’ve made for years. In these works, a multicolored hand-painted or printed grid simultaneously acts as a structuring device for the composition, an overlay, and a net that holds the work’s fragments together. Each “Net-Grid” painting is slightly off a square, giving the works the sensation, even in the specificities of their scale, that they might spill over their edges.]]></description>
<dc:subject>grid mapping map_art collage</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:44494483afe4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:grid"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:map_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:collage"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=XpZN3-tA-3U">
    <title>The Word for World: The Maps of Ursula K Le Guin - YouTube</title>
    <dc:date>2026-02-16T18:25:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=XpZN3-tA-3U</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>leguin mapping cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e51a27ca1f34/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:leguin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://drive.google.com/file/d/1vIDcodj8DX19mu_FoFL_9HHbee7EGsOL/view">
    <title>Xinan Ran, Mandarin Project</title>
    <dc:date>2026-02-14T03:24:18+00:00</dc:date>
    <link>https://drive.google.com/file/d/1vIDcodj8DX19mu_FoFL_9HHbee7EGsOL/view</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>food colonialism mapping citrus plants</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:813d1106a0a3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:colonialism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:citrus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://utppublishing.com/toc/cart/55/3">
    <title>Contents | Cartographica 55, 3</title>
    <dc:date>2026-02-04T23:10:38+00:00</dc:date>
    <link>https://utppublishing.com/toc/cart/55/3</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Decolonizing the Map: Recentering Indigenous Mappings]]></description>
<dc:subject>cartography mapping indigenous decolonization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:dde7a7ce519c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigenous"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:decolonization"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theschoolofmakingthinking.com/mapping-dissent.html">
    <title>Mapping Dissent - The School of Making Thinking</title>
    <dc:date>2026-02-04T15:37:34+00:00</dc:date>
    <link>https://www.theschoolofmakingthinking.com/mapping-dissent.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Whether captured by law enforcement or activists, mass protests are increasingly well documented in visual and audio registers. In a battle for control of the narrative, this torrent of data offers opportunities for untangling contested events and countering state-sponsored fear-mongering. The class will be focused on suppression of dissent and the ways in which technology and design can be reappropriated to create new methods for justice and accountability. We will study historical and contemporary protests and the role artists, architects, and activists play in rendering visible the relationship between cities, law enforcement and excessive use of force. We will use open source softwares to go through the processes of 4D event reconstruction; starting with simple OSINT techniques to collect and verify visual evidence, creating a collaborative archive to analyze the material, and compiling the findings with 2D and 3D tools to situate the sequence of events in its geospatial and temporal context. The final output will be determined by the participants, ranging from short videos, written articles, simple interactive websites etc. Participants should expect to work in groups, there are no heroes, and interdisciplinary and collaborative efforts are often the most effective in creating impact and meaningful change.]]></description>
<dc:subject>mapping resistance dissent protest</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:34f67079b016/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:resistance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:dissent"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:protest"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.livingmaps.org/issue-18?mc_cid=7b484de72c&amp;mc_eid=e7968a211d">
    <title>Issue 18 — Livingmaps Network - More-than-Human Mappings</title>
    <dc:date>2026-02-02T17:40:42+00:00</dc:date>
    <link>https://www.livingmaps.org/issue-18?mc_cid=7b484de72c&amp;mc_eid=e7968a211d</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Ideas about the ‘more-than-human’ have developed extensively over the past two decades, despite their longer histories, in various disciplines that have challenged the dissociation of humans from other species and things. This has attracted the attention of artists, activists, academics, policymakers and others. Many now agree that decentring the human is essential if we are to meet the pressing challenges of our world, in both local and global contexts. Yet, only a small fraction of this work has used mapping practices to tell more-than-human stories, histories and practices, or used mapping to engage wider audiences with these issues. We believe that the time has come to gather together the threads of more-than-human mappings into a special issue, to share our knowledge and ideas, to exchange good practice, and inspire each other. 

Issue 18 is home to ten contributions from our first conference, held in April 2025. Across a spectrum of forms, modes and expressions they explore a broad spectrum of more-than-human mapping practices: maps of the more-than-human, mapping with the more-than-human, and mapping from the more-than-human. Collectively they highlight the passion of mapping beyond conventional realms and foreground the value of process and participation in doing so. We hope readers will follow the conference attendees and find them to be a rich source of value and inspiration across disciplines and practice.  ]]></description>
<dc:subject>morethanhuman cartography mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:815454799775/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:morethanhuman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2025/11/18/science/neuroscience-brain-navigation-marshall-islands.html">
    <title>A Voyage Into the Art of Finding One’s Way at Sea - The New York Times</title>
    <dc:date>2025-12-16T17:51:37+00:00</dc:date>
    <link>https://www.nytimes.com/2025/11/18/science/neuroscience-brain-navigation-marshall-islands.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[For thousands of years, Marshallese navigators used traditional wave-piloting techniques to travel vast expanses of ocean. Wave piloting is the art of feeling and reading the swells and waves that hit and emanate from the region’s atolls. After a lifetime of studying these and other patterns, navigators pass a test devised by their chiefs to become a ri meto, or person of the sea.

In the mid-1940s through the 1950s, nuclear testing by the American military displaced some Indigenous populations of the Marshalls. The ancient and sacred art of wave piloting was kept alive by a small group of people, among them Capt. Korent Joel, one of the last known experts in traditional navigation, who trained his younger cousin, Mr. Kelen. Captain Joel died in 2017.

In early August, a team of international researchers, along with Marshallese sailors, set sail on a two-day voyage to study the cognitive process of way-finding at sea — and, more broadly, to help preserve the ancient art of navigation, which is having a cultural revival in the Pacific islands. Maria Ahmad, a Ph.D. student in cognitive neuroscience at University College London, devised the project after living on the Marshalls for many years. “I want to be part of keeping that heritage alive,” she said.]]></description>
<dc:subject>wayfinding navigation islands mapping indigeous cartography waves oceans cognitive_science</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:df94e771dbab/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:wayfinding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:navigation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:islands"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigeous"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:waves"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:oceans"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cognitive_science"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.route-fifty.com/digital-government/2025/11/voters-approve-digitized-new-york-city-map-amid-affordable-housing-push/409434/?oref=rf-homepage-river">
    <title>Voters approve digitized New York City map amid affordable housing push - Route Fifty</title>
    <dc:date>2025-11-10T22:23:46+00:00</dc:date>
    <link>https://www.route-fifty.com/digital-government/2025/11/voters-approve-digitized-new-york-city-map-amid-affordable-housing-push/409434/?oref=rf-homepage-river</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“Confirmation of jurisdiction for an infrastructure project in a waterfront area, where coastlines have changed over time and property records can be spotty, can require a physical trip to consult fragile canvas maps from over 100 years ago,” the report says. “A street demapping for an [New York City Department of Housing Preservation and Development]-sponsored affordable housing project can add close to a year of additional time, even for projects that are already going through [public review].”

Maintaining the city map has been the role of the city’s Borough presidents through their respective Topographical Offices since 1901. But the commission’s report noted that any map changes face a “long queue” at those offices due to the work involved and a lack of staff, meaning there are likely only three or four changes made a year. And the city’s planning department has taken on most land use functions formerly held by Borough Presidents since 1963.

“Routine alterations can take years to get to the starting line,” the report says. “The queue is also unpredictable, since priorities of the Mayor, Borough President, or other officials may bump private applicants to the end of the line. The length and complexity of this process has rendered City Map changes perhaps the most feared [review] actions among private applicants.”

Digitizing the map would also help “modernize a small but important corner of City government that creates significant headaches for urgent infrastructure, housing, and other projects,” the commission report said. That part of things would require each of the 8,000 or so paper city maps to be collected and scanned, but the whole effort will not be easy.

“Consolidating the borough maps into a unified City Map is not a task that can be accomplished in an instant,” the report says. “DCP staff estimate it will take approximately 18 months to translate the borough maps into a unified language and scan pre-1938 maps — that is, maps from before DCP’s creation — that exist only in paper form in borough Topographical Bureaus.”]]></description>
<dc:subject>nyc mapping cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c66640725a1c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://futureobservatory.org/news/public-map-platform-interview?mc_cid=31060463cf&amp;mc_eid=39dd8ac06d">
    <title>'Choreographed information can lead to better decision making'</title>
    <dc:date>2025-11-09T06:02:58+00:00</dc:date>
    <link>https://futureobservatory.org/news/public-map-platform-interview?mc_cid=31060463cf&amp;mc_eid=39dd8ac06d</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[
The essence of the project is to build a deep data map of Ynys Môn (the Isle of Anglesey) taking all sorts of published, organisational data and overlaying that with community data, with a focus on data coming from children and young people as a basis for helping to support green transition behaviours. In order to do this, we're doing a lot of engagement work, which is working with deep conversations on the local culture and thinking about the green transition. I think that technological ways of working have not really managed to make sustainability happen, whereas I think sustainability is very much a cultural and social endeavour. The pilot of Public Map Platform is based on Ynys Môn, but we are spreading out to other places in phase two and the aim is to change the nature of the planning system so that it becomes much more inclusive.
SO

We chose mapping because it is part of the lexicon of planning and it's the language of place and space, so if you want to engage with planners and spatial practitioners, mapping is the natural way in. Also, people understand maps and we find they are excellent rhetorical devices which allow young people to talk about place, and those discussions are as important as the map itself. ]]></description>
<dc:subject>mapping deep_maps cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b07c903ae8c3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:deep_maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.fastcompany.com/91435051/new-york-digital-citywide-map-election">
    <title>What New York’s citywide digital map will do - Fast Company</title>
    <dc:date>2025-11-06T18:53:06+00:00</dc:date>
    <link>https://www.fastcompany.com/91435051/new-york-digital-citywide-map-election</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[On November 4, New Yorkers appeared poised to approve Proposal 5, a measure that will push the city to create a unified official map representing its five boroughs for the first time. The effort should help officials finally catch up with unification efforts, which began more than a century ago in 1898, when areas throughout modern-day Queens, Brooklyn, Staten Island, Manhattan, and the Bronx were combined to form one city government. 

While the city has streamlined most operations, New York’s maps were never synthesized into one document, scattering authority over these official charts across the city and resulting in thousands of topographical paper documents. Today, the diffuse nature of these official maps slows down housing construction, adding another hurdle to solving the city’s extreme housing crisis, advocates argue.

The passage of the proposal means that these paper maps will finally be distilled into a single visualization and eventually digitized. The goal is to speed up any city process that typically requires verification with an official city map or updating a city map to mark a change to street geography....

Today in New York City, we have a very archaic system in which the official city map is spread out across five separate borough offices. On paper we think it’s about 8,000 paper maps across the five boroughs. This is really an artifact of a time before—not just digitization but also borough consolidation. The five boroughs became one city in 1898, but the borough presidents maintained jurisdiction over things like street maintenance through the middle of the 20th century. 

The city just never updated to consolidate its official city map into one unified map. Certainly as digitization and the internet have become more widespread in recent decades, the city never moved to modernize either. This measure would do both....

When we talk about the official city map, we refer to a pretty specific function, which is the map of things like street borders, street widths, property lines, in some cases waterfront borders, which have to do with construction and infrastructure. 

There are other maps like you mentioned. There are school district maps and city council districts and community districts all on down the line that are obviously important and frequently interact with the official city map but that are their own distinct maps and that wouldn’t be affected by this proposal....

It is a lot of paper maps to unify and to make sense of. They are amazing historic documents, and certainly we’ll want to take good care of them and preserve them, even if they’re no longer the official binding government document. Balancing care for the physical maps with efficiency of unifying them and digitizing them is going to be relatively important. It’s going to take a dedicated effort from city staff....

New York City actually has a number of what are called paper streets that are streets that exist on the city map today but are not real streets in real life. 

A number of the construction or zoning actions that would be sped up by the unified and digitized map relate to [whether] you either want to get rid of a paper street in order to do construction there or if you want to otherwise change the street.

The other thing that is maybe a little more broadly applicable is how the map modernization intersects with the climate crisis.

New York City has 520 miles of waterfront, along the bay and then along the rivers. Particularly as the climate has changed, waterfront borders have changed. . . . This proposal might make a big difference . . . either in development or resiliency efforts, where the paper maps when they were created genuinely do not reflect where the actual waterfront border is today.]]></description>
<dc:subject>nyc maps mapping coasts cartography urban_data climate</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9b4ee1553720/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:coasts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:urban_data"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:climate"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.e-flux.com/criticism/6782292/the-plantation-plot">
    <title>“The Plantation Plot” - Criticism - e-flux</title>
    <dc:date>2025-10-20T00:13:33+00:00</dc:date>
    <link>https://www.e-flux.com/criticism/6782292/the-plantation-plot</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Mounted on opposing walls nearby are a couple of cognitive maps representing the relationship of capital and power with the plantation system. Connie Zheng’s As It Is: Nothing Lasts Forever (2025) charts the linkages between multinationals, joint-stock companies, living beings, crops, and mineral resources traded as commodities since the sixteenth century. Based on ancient Chinese star maps, this gaseous, indigo-blue cosmos—stippled with geometric shapes made from intaglio banknotes and reminiscent of Wassily Kandinsky’s Theosophic abstractions—is dazzling. Conceptually aligning market forces with observable yet baffling celestial events, the work also feels faintly hopeful: the lifelines of many of these corporations peters out into the void. ]]></description>
<dc:subject>mapping diagrams cognitive_mapping celestial power_mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:136d218f2604/</dc:identifier>
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</item>
<item rdf:about="https://publicdomainreview.org/collection/travels-in-the-air/">
    <title>Vertiginous Accounts: *Travels in the Air* (1871 edition) — The Public Domain Review</title>
    <dc:date>2025-10-19T16:27:24+00:00</dc:date>
    <link>https://publicdomainreview.org/collection/travels-in-the-air/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[On a seaside holiday at Calais with his family in August 1869, French chemist and meteorologist Gaston Tissandier chanced to see a poster advertising a balloon launch from the central square the next day, as part of festivities celebrating Emperor Napoleon III. Going straight to the aeronaut’s hotel, he talked himself onto the voyage. Undaunted by wild nightmares of bursting balloons, his family’s strident pleas not to risk his life, and the blinding storm battering the coast, Tissandier arrived at the launch site at dawn, equipped only with life vests purchased from the Calais Humane Society. Despite a small trial balloon smashing into a bell tower and then being flung by the storm out over the wide expanse of the North Sea, the intrepid aeronauts jump into the wicker basket, a military band strikes up a march, and off the Neptune rises, 4,000 feet in a single bound.

Swept away by the sight of both the ant-like throng of spectators along Calais’ lilliputian shore below and a mirage image of the Calais-Dover ferry and other ships cast upon a cloud above, Tissandier is understandably unnerved that they are on a course not for the English coast as planned, but the open ocean. At 5,200 feet, the pilot notices that the cumulus clouds 2,000 feet below them are flying on a southwest course straight back to Calais, and, after dropping some of their sand ballast, they are soon floating over the Calais jetty — where Tissandier spies his younger brother Albert waving to him. ]]></description>
<dc:subject>public_domain balloons transportation diagram mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:745a54906b02/</dc:identifier>
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</item>
<item rdf:about="https://placesjournal.org/article/mapping-homs-syria-rebuilding-after-war/">
    <title>Memory Maps of Homs, Syria (The City and the City and the City)</title>
    <dc:date>2025-10-19T06:05:47+00:00</dc:date>
    <link>https://placesjournal.org/article/mapping-homs-syria-rebuilding-after-war/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Sixteen men showed up to the Homs mapping workshop in 2017, the first in a series that I helped organize as a doctoral student. 8 We began by talking about prints of the city’s famous landmarks and spaces — the Old and New Clock Towers, the Citadel, the Khaled Ibn al-Waleed mosque, the City Center building, al-Hamediyyah Souq. We paired the participants by how close they had lived back home, and we found that most were Sunni from areas near the Old City or in west Homs. They did not know one another, or at least not well. We asked each pair to draw a map of their neighborhood as they remembered it, bridging the space between their two residences.

Later, these maps were shared with the larger group. One pair, an older and a younger man, with different generational perspectives, presented their work. A third man interrupted, eagerly: “So, where were the military checkpoints located?” It must have been liberating to discuss something we could not speak about openly in Syria. “Here!” came the answer. “I drew eyes on the Military Security Building because they are watching us!”

In another exercise, my colleagues and I spread out a blank writing surface, larger than one square meter. At the center we placed a drawing of the New Clock Tower. We asked the participants, “Starting from the Clock Tower, what do you remember of Homs? Can you re-draw the city from memory?” This was a difficult question to ask this group; some of the men were children when they left home. We encouraged everyone to draw and write freely, without holding back.

The center of the map was a contested place. Some participants argued about the location of features. “No, no, this was here.” “Are you sure?” Others confidently drew the corners of the city they knew best, adding personal memories. “I had my first kiss here.” “My father died with a missile here.”]]></description>
<dc:subject>mapping cognitive_mapping war conflict memory</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fbdf4eaa1ef1/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:war"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:conflict"/>
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</item>
<item rdf:about="https://www.silverpress.org/products/the-word-for-world?srsltid=AfmBOoqgmMJ_44Q4YtCUhr6AJFBrvS1l933Ad2aT4VJRZkjf5yjy5u6z">
    <title>The Word for World: The Maps of Ursula K. Le Guin – Silver Press</title>
    <dc:date>2025-09-16T16:11:35+00:00</dc:date>
    <link>https://www.silverpress.org/products/the-word-for-world?srsltid=AfmBOoqgmMJ_44Q4YtCUhr6AJFBrvS1l933Ad2aT4VJRZkjf5yjy5u6z</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[When Ursula K. Le Guin started writing a new story, she would begin by drawing a map. The Word for World presents a selection of these images by the celebrated author, many of which have never been published before, to consider how her imaginary worlds enable us to re-envision our own. 

Le Guin’s maps offer journeys of consciousness beyond conventional cartography, from the Rorschach-like archipelagos of Earthsea to the talismanic maps of Always Coming Home. Rather than remaining within known terrain, they open up paradigms of knowledge, exemplified by the map’s edges and how a map is read, made and re-made, together. The Word for World brings her maps together with poems, stories, interviews, recipes and essays by contributors from a variety of perspectives to enquire into the relationship between worlds and how they are represented and imagined. 

Contributors: Federico Campagna, Theo Downes-Le Guin, Daniel Heath Justice, Bhanu Kapil, Canisia Lubrin, Una McCormack, David Naimon, Nisha Ramayya, Shoshone Collective, Standard Deviation, Marilyn Strathern.]]></description>
<dc:subject>maps mapping le_guin ontology imagination worldmaking</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:70e447b9d049/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:le_guin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ontology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:imagination"/>
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</item>
<item rdf:about="https://www.aaschool.ac.uk/publicprogramme/whatson/the-word-for-world?mc_cid=3926d24dad&amp;mc_eid=97856c8afc">
    <title>The Word for World</title>
    <dc:date>2025-09-16T16:08:26+00:00</dc:date>
    <link>https://www.aaschool.ac.uk/publicprogramme/whatson/the-word-for-world?mc_cid=3926d24dad&amp;mc_eid=97856c8afc</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[When Ursula K Le Guin was writing a new story, she would begin by drawing a map. The Word for World presents a selection of these images by the celebrated author, many of which have never been exhibited before, to consider how her imaginary worlds enable us to re-envision our own.

Le Guin’s maps offer journeys of consciousness beyond conventional cartography, from the archipelagos of Earthsea to the talismanic maps of Always Coming Home. Rather than remaining within known terrain, they open up paradigms of knowledge, exemplified by the map’s edges and how a map is read, made and remade together. ]]></description>
<dc:subject>le_guin maps ontology cartography map_ar mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:83a178b25e62/</dc:identifier>
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</item>
<item rdf:about="https://www.publicbooks.org/if-you-do-something-social-you-have-to-do-it-local-pedro-lasch-on-art-protest-and-migration/">
    <title>“If You Do Something Social, You Have to Do It Local”: Pedro Lasch on Art, Protest, and Migration - Public Books</title>
    <dc:date>2025-09-16T02:21:52+00:00</dc:date>
    <link>https://www.publicbooks.org/if-you-do-something-social-you-have-to-do-it-local-pedro-lasch-on-art-protest-and-migration/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The artwork also represented the breaking of national binaries, a kind of graphical boundary crossing. In that same vein, can you speak about your piece Latino/a América? A continental map that shows the two parts of the Western hemisphere, north and south, bears the words Latino/a in the northern half and América in the southern half.

In the US there is a tendency to conceptually cut the continents apart. Your text interferes in that sectioning, emphasizing that America is a hemisphere, not a country, with populations always in movement. The image has become popular, people have used it for T-shirts and tote bags, so it has become itself a migrating artwork. More importantly, part of the work was a social-practice engagement with people who were invited to carry a smaller version of this map folded in their pockets when crossing the US-Mexico border. How do you think about that piece in relation to this question of international movement, international travel, and parallels between different places having to do with class politics or mobility? Could you talk a little bit about this particular iteration of the piece—where people carried the map in their pockets—and then tell us a little bit more about the map on the wall that we have here, this intervention by local muralists?...

To respond to your question about the smaller, paper versions of the map: I didn’t want to just do a work about migration. I wanted to do a work that actually migrated. This is an homage to what migrants have done, not just in the case of the American continent, but throughout history. The biggest transformations of culture are done by population shifts, not by intellectuals. The languages we speak, the food we eat: all those things are basically caused by population shifts.

And so this is a celebration of that. The concept for this paper map that you see here is the idea that each one was carried by people who migrated with it. Each participant got two maps from me, all clean and white; then when they came to their final destination, they would either give one of them to me in person or mail it to me with the wrinkles and stains it had picked up on the way. If you were like my friend Vicencio Marquez—who had to hide in the sewer while the migra came with machine guns pointing at his head—your map looks very different than the one by Julian Zugazagoitia, who was director of the Museo del Barrio at the time, or Tomas Ybarra-Frausto, whose family was crossed historically by the moving border itself over a few generations.

I would intentionally work with people who were known in the community for specific things, often because of community activism. But I knew everyone would cross the US-Mexico border at some point. Participants are not just from one nationality or social class: there are people from Mexico, Nicaragua, Haiti, as well as Mayan Indigenous people from Guatemala. I also wanted to problematize the whole concept of Latino/a—as a colonial construction. It is not something just to be celebrated. So of course, I want criticism to be part of the work....

Some maps are incredible artistic productions, others are just functional things that we use to get somewhere. Flags are the same. So I try to find these genres of objects that are what I consider hybrid social objects: they can be art, but they easily move between these two spaces.]]></description>
<dc:subject>mapping cartography materiality migration map_art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4b8bc276eabf/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:materiality"/>
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</item>
<item rdf:about="https://mcharg.upenn.edu/blog/perspectives-01-tides-change">
    <title>PERSPECTIVES 01: Tides of Change | The McHarg Center</title>
    <dc:date>2025-09-08T14:43:06+00:00</dc:date>
    <link>https://mcharg.upenn.edu/blog/perspectives-01-tides-change</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[With the modeling and monitoring skillset we can collect data that are relevant to the kind of work we need to do or want to do. Landscape architects spend a lot of time trying to figure out how to take data that were collected for one thing and use it for something else. We end up running into lots of problems and limitations. Sometimes it's too large and coarse, sometimes it's detailed to the degree that makes it cumbersome to use, and sometimes it's honestly just wrong. When you have a particular scale or task and can effectively collect the data necessary to answer questions related to that scale or task, and answer them well, you gain the opportunity to learn about that environment. This is especially important in the littoral zone, where we are losing data every day due to sea level rise and habitat conversion, among other impacts.]]></description>
<dc:subject>monitoring landscapes sensing modeling data_collection mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6bbe2644aee2/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:landscapes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sensing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:modeling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_collection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
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</item>
<item rdf:about="https://map.indigenous-chicago.org/pr/indigenous-chicago">
    <title>Indigenous Chicago</title>
    <dc:date>2025-08-29T15:20:19+00:00</dc:date>
    <link>https://map.indigenous-chicago.org/pr/indigenous-chicago</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This interactive map explores five centuries of Indigenous histories on the land now known as Chicago. Stretching across time, it emphasizes that Chicago is, and has always been, an Indigenous place. ]]></description>
<dc:subject>cartography mapping indigenous chicago</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b9a651a948da/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigenous"/>
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</item>
<item rdf:about="https://storymaps.arcgis.com/stories/a2dbb2f6a42f4d54ba728c26f1ae57d6">
    <title>Building Hoopa Valley’s Digitally Sovereign Future</title>
    <dc:date>2025-08-28T05:25:42+00:00</dc:date>
    <link>https://storymaps.arcgis.com/stories/a2dbb2f6a42f4d54ba728c26f1ae57d6</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A Tribal network in California is fueling local economic growth, enabling long-term cultural preservation, and serving as a national model....

The Hoopa Tribe is a new champion in Tribal Broadband, having received a $65 million federal grant in March 2023 to bring a high-quality Internet connection to every home in the valley, build a new data center, and implement workforce development training. HVPUD’s focus on broadband comes out of necessity, as many Tribes have been neglected by large Internet Service Providers, leaving them with expensive, poor-quality service and long network outage wait times.....

The Tribal Broadband Bootcamps, coordinated by the Institute for Local Self-Reliance, are the creation of a loose collection of people with a long history of building and encouraging nontraditional broadband networks. They were borne out of a need to address Tribal communities’ dramatically expanding connectivity needs, as well as unprecedented federal funding opportunities for broadband in Indian Country. 

The bootcamps aim to build broadband capacity in Indian Country by inspiring people to create and work at Tribal Internet Service Providers in their own communities. They are designed to demystify technology, law, and policy, and create an open and collaborative network of people working to build their own Tribally-owned and operated networks. The event’s ethos is grounded in community-building and mutual growth: everyone has something to learn, and everyone has something to teach....

Speygee and his team are paying special attention to keeping jobs local. Included in the $65 million grant the Tribe received in March is workforce development funding to build up skills and knowledge for existing staff, a meaningful investment in the Tribe’s economy. 

The broadband project also has important implications for Hoopa’s cultural preservation. Most of the Tribe’s history has been passed between generations orally, but not all community members have someone living in close proximity to pass down that history. To ensure that important knowledge isn’t lost, the Tribe will have to transition to online methods of preservation. Speygee and his team are currently tackling the delicate work of moving knowledge online while ensuring that information is safe and that community members are on board.]]></description>
<dc:subject>indigenous community_networks local_media infrastructure mapping multimodal_storytelling storymap</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e3e1f2d382bf/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:local_media"/>
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</item>
<item rdf:about="https://www.bloomberg.com/news/newsletters/2025-08-24/why-is-manhattan-being-crushed-by-this-giant-meta-data-center?cmpid=design-edition">
    <title>Why Is Manhattan Being Crushed by This Giant Meta Data Center? - Bloomberg</title>
    <dc:date>2025-08-24T14:10:25+00:00</dc:date>
    <link>https://www.bloomberg.com/news/newsletters/2025-08-24/why-is-manhattan-being-crushed-by-this-giant-meta-data-center?cmpid=design-edition</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[No way will the Louisiana data center big this large. Assuming the blue graphic is half the length and half the width of Manhattan, that would make it 6 square miles, about three times the size of the largest town in Richland Parish. And if this Lego were the same height as, say, the Empire State Building — a conservative guess based on the map — then the building’s volume would be more than 200 billion cubic feet. That’s a thousand times the size of Tesla’s Gigafactory or Boeing’s Everett Factory — the largest structures in the world.

Maybe Hyperion’s size is relative to the collective computing power of Manhattan. Those little cutouts around the perimeter do make it look data-y. But I don’t think that’s it, either.

Meta means for Hyperion to dominate the landscape, culturally, economically and metaphorically. The use of a literal landscape to convey this message is no accident, and specifically New York City — far from where the demand for energy to fuel artificial intelligence is remaking whole communities — is pointed. Zuckerberg’s graphic joins a long line of futurist visions that employ urban cityscapes for scale to showcase ideas that are meant to change the world. ]]></description>
<dc:subject>data_centers visualization cartography mapping energy urban_planning</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f1f806c417d8/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:urban_planning"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://robwalker.substack.com/p/missed-directions">
    <title>Missed Directions - by Rob Walker - The Art of Noticing</title>
    <dc:date>2025-08-21T00:14:04+00:00</dc:date>
    <link>https://robwalker.substack.com/p/missed-directions</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Last week’s post about things that used to be there drew a number of notable responses. A couple mentioned people who used to be there, and the way people and places can be intertwined in memory. Others noted how tricky it can be to recall the specifics of what’s no longer there. “I have often found that when something is suddenly gone,” Eddie Kunz wrote, “no matter how long it was there for or how may times I have seen it, suddenly it is hard for me to picture how it looked before.” I know that feeling!

A couple of related comments gave me an idea for a (possibly impossible) challenge. One was from Erin, responding to my reference to the way that an awareness and regular evocation of what “ain’t dere no more” often strikes me as core to New Orleans culture. “I'm not sure I conceived of this as a defining NOLA thing when I was growing up,” Erin wrote. “But of course, almost every set of directions included ‘turn left past where the K&B used to be’ or something equivalent. Looking back I'm grateful for the tenacious oral history of it all.” ...

    Could you give written directions to a place using only things that used to be there as “landmarks”? What kind of missing-places maps could be assembled — especially in the form of spiral-bound instructions? What travel guides to absent locales could be devised? What tenacious local histories might you tap into?]]></description>
<dc:subject>mapping erasure</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d798801dd60e/</dc:identifier>
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</item>
<item rdf:about="https://abramsplanetarium.org/SkyCalendar/index.html">
    <title>Sky Calendar</title>
    <dc:date>2025-08-13T16:51:49+00:00</dc:date>
    <link>https://abramsplanetarium.org/SkyCalendar/index.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Abrams Planetarium Sky Calendar promotes skywatching for people of all ages. As its name implies, the sheet for each month takes the form of a calendar. Diagrams in the boxes invite the reader to track the moon's rapid motion past the planets and bright stars of the zodiac, as well as to follow the more leisurely pace of the planets in their gatherings with bright stars and other planets. The reverse side consists of a simplified star map of the month's evening sky. The sky maps are designed for use at a convenient time in mid-evening, for a latitude useful for the entire continental U.S. (40 degrees north).

The Sky Calendar has evolved into one of the nation's most highly illustrated, easy-to-follow guide to sky events. Not only is it enjoyed by thousands of paid subscribers, but it is used (with permission) by classroom teachers with their students, by planetariums and astronomy clubs, and by park interpreters for audiences at sky talks. Both the sky map (on the reverse side) and the calendar have appeared in issues of Science and Children, a journal of the National Science Teachers Association.]]></description>
<dc:subject>calendars temporality astronomy observation timelines mapping cartography mapping_time diagrams</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:207399f7970c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:temporality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:astronomy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:timelines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping_time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:diagrams"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://artyard.org/events/robin-frohardt-shopping-center-parking-lot/?mc_cid=3b6d20f9de&amp;mc_eid=d467d6ad8b">
    <title>Robin Frohardt: Shopping Center Parking Lot - ArtYard</title>
    <dc:date>2025-08-11T15:58:02+00:00</dc:date>
    <link>https://artyard.org/events/robin-frohardt-shopping-center-parking-lot/?mc_cid=3b6d20f9de&amp;mc_eid=d467d6ad8b</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Join us for the culmination of Robin Frohardt’s residency for a work-in-progress showing of Shopping Center Parking Lot, a live-cinema performance that blends puppetry, prose, live music, and intricate handmade cardboard sets.

Shopping Center Parking Lot is a speculative non-fiction piece, grounded in reality yet deeply reflective, that offers a poetic meditation on our relationship with the natural world. Having grown up in the land of big box stores, Shopping Center Parking Lot is Frohardt’s attempt to reconcile the predicament of being born a soul in a body raised in a Walmart.

At this showing, Frohardt will present excerpts from her developing project, share highlights from her residency, and offer insights into her creative process.]]></description>
<dc:subject>mapping models cardboard</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4e32eeef0579/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:models"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cardboard"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://en.wikipedia.org/wiki/Cartography_of_China">
    <title>Cartography of China - Wikipedia</title>
    <dc:date>2025-07-16T01:33:21+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Cartography_of_China</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Yu Ji Tu, or Map of the Tracks of Yu Gong, carved into stone in 1137,[1] located in the Stele Forest of Xi'an, Shaanxi, China. This 3 ft (0.91 m) squared map features a graduated scale of 100 li for each rectangular grid. China's coastline and river systems are clearly defined and precisely pinpointed on the map. On the reverse side of the engraving is another map, Huayi tu.]]></description>
<dc:subject>cartography mapping stone china</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:52eece64e3e4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:stone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:china"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://here.allmaps.org/">
    <title>Allmaps Here</title>
    <dc:date>2025-07-01T16:23:38+00:00</dc:date>
    <link>https://here.allmaps.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Find historic maps around your current location

Drop a pin on any map and send a digital postcard to share your location with a friend!]]></description>
<dc:subject>mapping cartography geolocation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:aa200ad77a93/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:geolocation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.leventhalmap.org/articles/neh-allmaps-statement-2025/">
    <title>An update on the future of the Allmaps project · Leventhal Map &amp; Education Center at the Boston Public Library</title>
    <dc:date>2025-06-30T19:56:55+00:00</dc:date>
    <link>https://www.leventhalmap.org/articles/neh-allmaps-statement-2025/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Allmaps is a set of tools that make it easier and more fun to work with digitized maps in library collections. It’s especially great for georeferencing, or overlaying old maps on modern geographies, which can turn historical maps into vastly more useful research tools. At the Leventhal Center, we do lots of georeferencing, so we, along with our friends at the American Geographical Society Library (AGSL), have been huge fans of Allmaps for years.

Because we wanted to help make Allmaps even more powerful for members of the public, together we applied for a grant from the National Endowment for the Humanities (NEH) to support its ongoing development and long-term sustainability. In August 2023, we were awarded a Digital Humanities Advancement Grant (DHAG) for this work. Over 18 months, we connected with colleagues, researchers, and map enthusiasts from Palo Alto to Paris, from Colombia to Kentucky, with a shared goal of bringing historic maps to life and creating new opportunities for people to explore the world around them.

Sadly, on April 17, 2025, we learned that the federal government terminated many NEH grants, including ours. The notification stated that our grant’s termination was “necessary to safeguard the interests of the federal government.”]]></description>
<dc:subject>mapping cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c5d8eede49ca/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2025/06/17/science/astronomy-yahdii-dene-alaska-native.html">
    <title>A Traveler Waits in the Stars for Those Willing to Learn How to Look - The New York Times</title>
    <dc:date>2025-06-18T01:26:36+00:00</dc:date>
    <link>https://www.nytimes.com/2025/06/17/science/astronomy-yahdii-dene-alaska-native.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The book, “In the Footsteps of the Traveller,” grew from that first meeting with Mr. Herbert and replaces earlier scholarly condescension with a clearer picture of a huge, ancient and intricate astronomical system shared by Elders across more than 750 miles of subarctic landscape. Alongside Mr. Herbert, some 65 Indigenous knowledge holders contributed to the book. More than a third have passed away since Dr. Cannon began the research.

One of the most central features of the regional astronomical system is a single figure who straddles the entire sky: In Gwich’in, he is Yahdii.

“We may have called him different names, but we all have the same story of the man in the sky,” Fred Sangris, of the Yellowknives Dene First Nation in Canada, wrote in the volume’s foreword. “As a chief, Elder, and contributor of this book, I give this work my sincere blessing and hope that many benefit from the wisdom in its pages.”]]></description>
<dc:subject>indigenous epistemology astrology stars mapping cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2bd9687a6e3f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:epistemology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:astrology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:stars"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://urbanomnibus.net/2025/06/seneca-village-envisioned/">
    <title>Seneca Village, Envisioned - Urban Omnibus</title>
    <dc:date>2025-06-13T01:15:54+00:00</dc:date>
    <link>https://urbanomnibus.net/2025/06/seneca-village-envisioned/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Gergely Baics, Meredith Linn, Leah Meisterlin, and Myles Zhang, whose fields of expertise span archeology, GIS, cartography, architecture, and urban history, developed Envisioning Seneca Village to correct, and create, a public record. No known images of Seneca Village exist. Meanwhile, on the internet, where most people get their information, one can find historical images of run-down “shanties,” falsely identified as belonging to Seneca Village. They perpetuate the idea that the community had no value, originally marshaled to justify its destruction. For their evidence-based reconstruction, the team extrapolated from diverse sources: census records, land survey maps, archeological digs, and more. Where the historical record fell short, they engaged in “informed speculation,” a unique methodology of carefully developed and rigorously documented inferences that fill in the texture of everyday life, from fences to clotheslines. Below, the authors walk us through their interactive digital commemoration, and how they drew the lines around evidence and inference. In an era of AI hallucinations and misinformation, they also offer a model of ethical visualization, privileging evidence over myth, and memory over erasure.
]]></description>
<dc:subject>mapping blackness erasure nyc data_visualization archaeology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:39d71abb29ab/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:blackness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:erasure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:data_visualization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archaeology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://news.artnet.com/art-world/how-to-look-at-art-2650882">
    <title>Here’s My Personal Method for Seeing an Art Show, If You Want to Get the Most Out of It</title>
    <dc:date>2025-06-01T15:40:29+00:00</dc:date>
    <link>https://news.artnet.com/art-world/how-to-look-at-art-2650882</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[But if you go to an art exhibition on your own just to look—either because you want to write about it yourself, or because you want to really squeeze all the juice out of a precious experience—here is the method I have cobbled together over the years to get the most out of it. It’s my own, though I know other critics have similar methods. Mine is pretty simple. It has three-and-a-half steps.]]></description>
<dc:subject>organization art_fairs mapping methodology galleries</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:cd8939f30ebd/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:art_fairs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:methodology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:galleries"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://collections.leventhalmap.org/exhibits">
    <title>Norman B. Leventhal Map &amp; Education Center: Exhibition Archive</title>
    <dc:date>2025-05-27T17:55:48+00:00</dc:date>
    <link>https://collections.leventhalmap.org/exhibits</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>mapping cartography libraries exhibitions maps map_art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2f9180b7ffd1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:exhibitions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:map_art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.leventhalmap.org/articles/interview-with-meghan-kelly/">
    <title>Meet Meghan Kelly, Our 2025 Designer-in-Residence · Leventhal Map &amp; Education Center at the Boston Public Library</title>
    <dc:date>2025-05-27T17:55:33+00:00</dc:date>
    <link>https://www.leventhalmap.org/articles/interview-with-meghan-kelly/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In your residency at the Leventhal Center, you’ll be working on new ways of thinking about icons on maps. Tell us more about how you’ve already begun to rethink icons and iconographic visual language.

Map icons are typically the tiniest symbols included on maps, especially the maps we use on our phones everyday (e.g., Google or Apple Maps). While small and compact, they carry significant meanings locating people, places, activities, and stories. Mapmakers use map icon libraries that are preloaded into our mapping tools. These icon libraries are consistently designed to convey a cohesive map style and are often applied universally in maps. In other words, mapmakers are often “locked” into specific set of map icons that may or may not be suitable for a specific map. Map icons, however, are not “one-size-fits-all” and we need map icons that are context specific. During my residency, I aim to collectively develop an icon set for Boston that reflects community experiences and perspectives and will be publicly available for the community to use. I will also create a map of Boston that incorporates these icons.]]></description>
<dc:subject>mapping cartography critical_cartography icons iconography feminism feminist_cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:0efa96885e79/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:critical_cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:icons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:iconography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:feminism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:feminist_cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://mused.com/">
    <title>Mused | Simulate Realities: Digital Twins for Spatial Intelligence in Cities, Supply Chain, and Education</title>
    <dc:date>2025-05-23T23:39:02+00:00</dc:date>
    <link>https://mused.com/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“We want to inspire our users with high fidelity and meaningful simulations and 3d captures. We build immersive experiences for city planners, analysts, educators, corporate training programs, and urban and transport workers around the world to simulate people and places to a high degree of detail…Simulate any history — or anything — just by talking to our map. Write “D-Day Landings, WWII” or the “Caesar’s Gallic Wars”, and the map will create a simulation with relevant places and people — and let you re-enact the events. We’ve been building it in partnership with everyone from ecologists at the United Nations to logistics and supply chain managers to teachers around the world. Bringing your ideas to life is much faster, and afterward, you can export and edit the map data in another tool of your choice (I like Mapbox or Geojson io). Along with the map, I’ve been developing a human behavior model that visualizes how we live and move in cities–the flow of goods and people. It’s based on our contemporary methods of travel, built on real census data and a lot of research with historical datasets. ]]></description>
<dc:subject>mapping maps simulation modeling urban_planning</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ca3188704ca0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:simulation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:modeling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:urban_planning"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://4columns.org/d-souza-aruna/renee-green">
    <title>Renée Green | 4Columns</title>
    <dc:date>2025-05-09T14:55:52+00:00</dc:date>
    <link>https://4columns.org/d-souza-aruna/renee-green</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Though widely shown in Europe and global biennials, Green is only now receiving a major solo museum exhibition in New York. Its title, The Equator Has Moved, signals many of its themes: space, place, and, above all, mapping—and the way all three are functions of power, including tectonic shifts of colonial domination and empire-building. (If Trump can rename the Gulf of Mexico, why can’t the equator move?) Curated by Jordan Carter with Ella den Elzen, Equator spans two massive galleries at the heart of Dia:Beacon and a long passage running perpendicular to them. Featuring twenty-four pieces, many of which comprise multiple parts—installation, banners, a mural, time-based work, and so on—it feels very big indeed. (There are around six hours of digital film and sound work alone.) This is not a viewing experience for the completist; rather, its pleasures are akin to going down the rabbit holes you stumble upon in an archive and seeing where each new discovery leads you....

If photography is one of the ways colonial power is deployed, so are other means of recording and categorizing. Pigskin Library is a reconstruction of the collection of fifty-nine books Teddy Roosevelt took with him on his 1909–10 expedition to East Africa, Congo, and Sudan to collect samples for the Smithsonian Institution. It is a simple affair—a cloth tent, a table supporting a chest containing “replicas” of Roosevelt’s books (including Paradise Lost and Tales of the Argonauts), and the sounds of John Philip Sousa’s “The Corcoran Cadets.” At the foot of the table is a framed sign with a passage from Roosevelt’s African Game Trails, in which he explains why he had the tomes bound in durable pigskin: “Often my reading would be done while resting under a tree at noon, perhaps beside the carcass of a beast I had killed . . .” The words underscore the connection between scientific investigation and bloodthirst—Roosevelt and his companions slaughtered or trapped over eleven thousand animals during their trip. Outside the tent are two long wooden file boxes filled with color-coded wood placards, each printed with a term culled from the index of African Game Trails; one box contains the Latin names for the small and large mammals Roosevelt discovered, while the other contains phrases organized by rubrics including “hexing,” “comfort,” “luck,” and “passion”—squishy concepts that throw the scientific nature of the mission into question. Most importantly, a small camp stool and a set of white cotton gloves—the kind used by archival researchers—are available for viewers who wish to explore the files, turning them from passive spectators to users of the work...

One of the major themes running through the show is color. It is literally present in the galleries, in the eleven brightly-hued Bichos (modular media-viewing booths named after Lygia Clark’s manipulable sculptures) that run down the centers of each space; the riotously dyed Space Poems (banners printed with fragments of text, both Green’s own words and those of others) that hang from the ceiling and on the walls; and the vinyl lettering of Elsewhere? [Wall version] (2002/25), a mural composed of names of imaginary places, listed in alphabetical order. But color is also present as a concept—a tool for making the world knowable and graspable, an act that Green’s work suggests is inevitably ideological. The exhibition reassembles her 1990 Color series, which might be best understood as mixed-media diagrams, like something out of a science fair: “neutral” gray-painted panels bearing a labeled array of color swatches and framed vellum passages of text....

consider Which? (1990)—a panel painted black and white imprinted with pairs of opposing terms (top/bottom, other/same, passive, active, he/she). Small shelves running down the center support half-filled fishbowls etched with the words “ambiguous,” “shifting,” and “indeterminate”—a material assertion of a “gray area.” Then there is Neutral/Natural (1990), a more complex arrangement that presents gray (in this case, painted panels) as the neutrality that counters the “naturalness” of Angela Davis’s Afro, a specimen jar filled with tree bark, an image of a waterfall, and words representing various branches of Enlightenment knowledge. ]]></description>
<dc:subject>mapping installation flags map_art collecting libraries library_art classification organization color</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2601be2bb4e3/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:flags"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:map_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:collecting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:classification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:organization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:color"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.mappingabsence.com/">
    <title>Mapping Absence</title>
    <dc:date>2025-04-30T13:51:52+00:00</dc:date>
    <link>https://www.mappingabsence.com/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Why “Disappearance” Matters

The concept of enforced disappearance came to prominence largely through the experiences of Latin American dictatorships, where State agents carried out arbitrary detentions and extrajudicial killings. In international law, enforced disappearance is recognized as a grave human rights violation, prompting the emergence of memory studies and testimonial genres that seek to document and contest these crimes. Scholars have noted how fictional works in world literature engage with related themes—such as doubling, prosopopoeia, and spectrality—as literary reflections of State terror.

Recent scholarship, however, highlights the shifting relationship between State violence and disappearance. In response, alternative frameworks—e.g., social disappearance, mundane disappearance, and neoliberal disappearance—foreground how non-State actors drive the majority of disappearances today. Thus, multiple forms of disappearance have given rise to increasingly diverse modes of expression, narration, and justice-seeking. For example, several poets in North America center Murdered and Missing Indigenous Women (MMIW); prize-winning novels in Ireland, Nigeria, and Sri Lanka focus on internal armed conflict and disappearance; Palestinian literature engages with disappearance as a legal and literary device; and nonfiction narratives turn to the rubric of disappearance to account for African migrants lost in the Mediterranean. The urgency around these global contexts shapes this symposium, as we strive to expand conversations about these critical texts, issues, and forms of collective engagement.]]></description>
<dc:subject>mapping cartography absence erasure displacement disappearance</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:509b4936fe26/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:absence"/>
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</item>
<item rdf:about="https://www.nybooks.com/online/2025/04/18/spaghetti-underground-subway-maps/">
    <title>Spaghetti Underground | Zoe Guttenplan | The New York Review of Books</title>
    <dc:date>2025-04-21T02:09:02+00:00</dc:date>
    <link>https://www.nybooks.com/online/2025/04/18/spaghetti-underground-subway-maps/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Transit Authority adopted a version of the map Salomon had submitted a year later. Perhaps inspired by Beck’s design, Salomon’s was diagrammatic. The city’s geography was distorted and the tracks streamlined; straight lines and gentle curves in red, green, and black spread out across the taupe blobs that signify landmass. Still, those erstwhile divisions between BMT, IRT, and IND all stayed. And to this day, the MTA seems hell-bent on keeping one name for several things....

It wasn’t until the Chrystie Street Connection in Chinatown united prominent BMT and IND lines that the Transit Authority realized it had to move on. In 1964 it launched a competition to improve the map. One of the winners was the Brooklyn-born Raleigh D’Adamo, a lawyer and hobbyist letterpress printer. His major innovation was assigning each line a color, so that adjacent routes wouldn’t be confused for each other....

Vignelli disdained the number/letter system. It had been meant to remind users of the former tripartite division of the subway, as he explained at Cooper Union, but “this form of romanticism is very non-beneficial to the planning of systems or communication.” Ultimately he relented, keeping the names and the colors....

Tauranac succeeded where Vignelli failed. He wanted to use a trunk system, bundling together routes that run along the same avenue in Manhattan. This would reduce the number of lines needed, taking the map back to the simplicity of Salomon’s 1958 design. The version of his map the attendees at Cooper Union saw never made it into the subway, although it closely resembles the one that did: the shape of the boroughs didn’t change much; parks were always green and water blue; and the trunk system was already in place, so that the A, C, and E lines (or A, AA, CC, and E lines, as they were then known) split off a single branch....

Giuliani had stuck the knife in with his budget cuts, and Governor Andrew Cuomo had twisted it further—he once forced the MTA to bail out state-run ski resorts to the tune of $5 million. Again and again the MTA spent money on shiny new features like OMNI contactless payments and flashy station renovations while neglecting its decaying infrastructure, which in some places is almost a hundred years old. As a result, the subway became not just unreliable but unsafe...

Is the new subway diagram just another superficial upgrade? Janno Lieber has a different take. At the unveiling he described it as a project that “reflects all the enhancements” the MTA has made over the years. Even so, he recognized the need to “invest in the unseen things that people since 1979 didn’t touch: the old signals, the falling-apart structure.” This, he said, is a “lynchpin moment.” But with the federal government attacking public services and congestion pricing, a plan that is supposed to inject billions into transit improvements, it’s hard to be optimistic about how much more than style this new subway diagram will bring to the system....

You don’t consult a subway map to find a station—you use it to get around once you’re already in the system. Vignelli knew that. He also knew eventually you’d want to get out of the system and into the streets. In each station his diagram was intended to be hung alongside two geographic maps, one of the area and one of the city. It isn’t his fault the Transit Authority only printed the system diagram....

The MTA has already produced a vast range of geographic neighborhood maps; it should give its users the same courtesy as the Underground by displaying non-digital versions of them prominently in every single station....

A huge part of the new design’s functionality comes down to the legend in the top-right corner, where service patterns and the symbols used to represent them are explained in words. The Tauranac map was much praised in its time for revealing secrets of the subway seemingly only known to native New Yorkers: that the D train skips Yankee Stadium during rush hours, for example. But in 1979 the legend took up about a sixth of the page. It’s smaller now and includes some brilliant innovations, such as clearly differentiated types of transfer and shaded lines indicating additional service....

Live in New York long enough and you develop a strange innate understanding of this convoluted system. You stop questioning why the F train that runs on the D track isn’t just called a D train. You know when to change to the express and when it isn’t worth it. You realize that the map is important, but that it will always be a bit wrong. As one audience member said during the 1978 debate, the most accurate and comprehensible information about the subway system often comes not from a poster on the wall or the garbled voice of the conductor but “from somebody on a platform.”]]></description>
<dc:subject>subway mapping MTA navigation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b6293f97717e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:MTA"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:navigation"/>
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</item>
<item rdf:about="https://www.vitalcitynyc.org/articles/new-yorks-new-subway-map">
    <title>Vital City | From Point A to Point Q, and Beyond</title>
    <dc:date>2025-04-11T16:27:06+00:00</dc:date>
    <link>https://www.vitalcitynyc.org/articles/new-yorks-new-subway-map</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[First, the neo-Vignelli map makes it much clearer which trains stop at which stations. The Tauranac-Hertz map uses one colored line for each Manhattan main line, relying on the user to read individual station markers to check whether the express stops there. 

Second, the MTA addressed most of the design complaints directed at the Vignelli map of the 1970s. The cheerless earth tones are gone, replaced by vivid, bright colors that reflect the vitality of the city.

Third, by introducing a diagram with uniform angles, the MTA has brought its design language into line with the rest of the world. For decades, the New York subway was the only major system on Earth with a geographically accurate subway map....

Fourth, the release of the neo-Vignelli map was coupled with administrative changes that make navigating the weekend subway significantly easier. In addition to temporary platform signage, the MTA now puts out a continuously updated weekend map with service changes, and a live map for smartphones that overlays with Google Maps....

That said, there are four areas where the MTA could do better. 

First, there needs to be a more logical method of showing transfers...

Second, the MTA’s way of showing connections to other systems is suboptimal. The neo-Vignelli map doesn’t make it clear when connecting transit is within a station complex....

The third major issue is that the neo-Vignelli map doesn’t show which lines run on the weekends....

Fourth, the neo-Vignelli map obscures the city’s geography too much. New York’s physical geography matters more than in most cities, even in the era of Google Maps. ]]></description>
<dc:subject>transit transportation mapping cartography map_critique MTA NYC</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:70daaa5f73d9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:transportation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:map_critique"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:MTA"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:NYC"/>
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</item>
<item rdf:about="https://www.e-flux.com/announcements/663186/dissident-paths-walking-together-as-a-method/">
    <title>Dissident Paths: Walking Together as a Method - Announcements - e-flux</title>
    <dc:date>2025-04-10T04:25:25+00:00</dc:date>
    <link>https://www.e-flux.com/announcements/663186/dissident-paths-walking-together-as-a-method/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Dissident Paths: Walking Together as a Method is a curatorial project unfolding over a year, by means of collective movement along traced, imagined, and yet-to-be-discovered paths across Berlin. Walking can be both a necessity and a gesture of dissidence, a refusal to accept the given infrastructures of a world increasingly deﬁned by polarization and devastation. Walking through the city can change perceptions and awareness, at once exposing barriers and impossibilities, whilst also opening up new routes. Movement, in both its bodily and political forms, holds the potential to reshape our sense of belonging and collective agency.

This in-motion program emerges from timely questions, addressed from multiple directions: How do pathways, thresholds and urban networks reﬂect existing power structures? Who moves freely and unhindered, and who is forced to ﬁnd alternative ways? What invisible histories, suppressed narratives, and unspoken solidarities might walking reveal? If walking connects us to the more-than-human world, how might it allow us to attune ourselves to the city’s forgotten ecologies, its vanishing commons, its fragile futures? Can walking become a way to reimagine our urban environments, making them more just, porous, and collectively held?

Between May and October 2025, across five chapters titled PATHS, a total of 23 walks will take place. Led by invited artists, collectives, poets and cultural theorists, these contributions take on multiple formats, expanding the idea of the walk towards performances, readings, open-air film screenings, workshops for children and adults, sound interventions, foraging, board game sessions, after-parties, and more. Each of them embodies a set of socio-political urgencies, as articulated by its contributors—who come from different backgrounds and lived experiences, bringing various forms of accessibility to each event.

From each walk, the artists are invited to leave a TRACE—whether through documentation, material-making, textual reﬂections, or something yet to be deﬁned. These traces will be collected and shared during a 4-day public program at nGbK in February 2026, as well as in the form of a dossier titled Walk Notations. The traces will reﬂect on the trajectory of the program whilst opening space for reflections and discussions about future steps.

Dissident Paths was conceptualized by two pre-formed Berlin initiatives, Cruising Curators and ReRouting. Their shared interests in experimenting with alternative curatorial methodologies led them to shape this program as an attempt to establish different forms of contact in urban spaces.]]></description>
<dc:subject>walking mapping methodology traces library_field</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:494bb8fe2c63/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:methodology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:traces"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
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</item>
<item rdf:about="https://www.bloomberg.com/news/newsletters/2025-04-06/new-york-city-restores-its-1970s-minimalist-vignelli-subway-map?cmpid=design-edition">
    <title>New York City Restores Its 1970s Minimalist Vignelli Subway Map - Bloomberg</title>
    <dc:date>2025-04-06T17:45:05+00:00</dc:date>
    <link>https://www.bloomberg.com/news/newsletters/2025-04-06/new-york-city-restores-its-1970s-minimalist-vignelli-subway-map?cmpid=design-edition</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[On April 2, the Metropolitan Transportation Authority announced that it is retiring the system map that New York has been using for the last 45 years and replacing it with one that the agency believes is easier to follow. The MTA is hailing the new map as a symbol of the agency’s big plans for better overall service. 

But the map isn’t brand new: The MTA is restoring a version of Massimo Vignelli’s short-lived map design from the 1970s...

A new map won’t do much to hold back the MTA’s detractors, but the agency is eager to prove its commitment to improvements for a region losing faith in the service.

Vignelli’s minimalist system map first surfaced during a time of crisis. Back when President Gerald Ford told New York to “drop dead” in 1975, safety fears were rising and ridership levels on the subway were plummeting. The map, introduced three years earlier, wasn’t helping matters. Some found its straight lines and strict station placements incompatible with the city’s actual layout; others simply found its beige water bodies and gray parks depressing....

The map drew the ire of John Tauranac, the MTA’s map committee chairman. Tauranac represented the belief that the subway map should reflect the physical features of the city it serves, while Vignelli believed it should function as a diagram, much like the map that Harry Beck created for London Underground. A heated debate between the two factions ensued in 1978, but by then, Vignelli’s side was already losing. Tauranac succeeded in replacing the Italian modernist’s creation with a geographically accurate design, executed in 1979 by Michael Hertz Associates....

Modernist designers never got over the loss of Vignelli’s creation. In Gary Hustwit’s 2007 documentary, Helvetica, Vignelli charismatically and quite confidently defended his design. Nostalgia for it grew. Eventually even the MTA got on board: The agency has issued several Vignelli-inspired designs, including a digital map for weekend service changes in 2011, a commemorative map to celebrate the Second Avenue Subway opening in 2017 and a real-time digital map in 2020....

Black dots for each station on the new map now have the corresponding line name inside them, which may help visitors used to systems where line color is more critical to navigation; white dots indicate no service during specific times. The High Line is now labeled and outer borough parks and beaches have been added. A walking icon now makes it more clear that one can make a free transfer between Lexington Ave/63rd St and 59th St. Same for Junius St and Livonia Ave in Brooklyn, an option that would otherwise not look doable on this diagram-style map....

Tauranac, for his part, wanted to go even harder in the direction of geography, proposing an updated map in 2020 that would include a sun icon for outdoor stations, bridges for above-ground East River crossings, and police badges for subway stops with police stations. Sit down for this one: Tauranac wanted to switch from the Helvetica typeface to Myriad Pro.]]></description>
<dc:subject>subways transportation nyc mapping cartography vignelli</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d537cee6ba4f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
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</item>
<item rdf:about="https://www.are.na/editorial/what-can-an-image-do">
    <title>What Can an Image Do? | Are.na Editorial</title>
    <dc:date>2025-04-04T00:36:43+00:00</dc:date>
    <link>https://www.are.na/editorial/what-can-an-image-do</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I spent a lot of last year working with a different kind of map — the satellite image. Specifically, I worked with the open-source investigative bureau Bellingcat on a guide to using techniques from the geological and environmental sciences to investigate mining operations.

The images that these techniques create are produced by a form of filtering. Satellite imaging datasets contain information about the surface of the earth encoded in different wavelengths of light, including light that isn’t visible to the human eye. Different materials reflect light in different ways — comparing between wavelengths can highlight the differences between the substances you care about being able to see. In this case, the images I am looking at are of bauxite mines. To highlight the mines, I construct a false color image using a mixture of infrared and visible light — each red, green, and blue band is replaced with a ratio highlighting different combinations of minerals. The more “official” and standard combinations of ratios are referred to as indices.  By knowing about the chemistry of the site, it’s possible to track changes to mining areas over time....

The conflict I’ve felt looking at the Fahlström artwork I feel deeply in myself, here, too. There is something very jarring about creating a beautiful image that represents death and extraction, captured by a device floating above the landscape. Many of the imaging techniques I am using are themselves developed by the mining industry. When I talked to my friend Austin about how they use satellite images in their ecological work, they described satellite imagery as a way of making a material, environmental, and human process legible to different actors. A satellite imaging index thus becomes a technique for making something measurable from a distance, legible to computers and thus to a market....

One doesn’t need to look too long at any technological object to see incredible violence. Many of the images I made for the Bellingcat project came from data gathered by the Landsat 7 satellite. This specific satellite was made by Lockheed Martin, currently the world’s largest defense contractor, and the manufacturer of the Hellfire missiles used to bomb hospitals in Gaza. Images of ourselves from space — Stuart Brand’s theoretically peace-inducing whole earth — have always been mediated through military actors. There’s a deep ambivalence inherent in this powerful change of perspective....

The artwork is called Permaculture Network, and was originally intended as a web-based representation of a network of soil sensors installed in the farm on the site. In the end we never managed to install them, in part because of how difficult it is to get electronic hardware into the West Bank. The artwork was thus made as an experiment — a question, a puzzle if you like: on one of the most surveilled, extracted-from landscapes on earth, what are alternative forms of representation and seeing, a way to get a sense of the land without simply extracting from it?

In the end, what we decided should mediate the information about Sakiya’s ecology was the conversational aspect of the landscape.]]></description>
<dc:subject>satellite_imagery mapping sensors soil solar_networks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:25942dd5bb03/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sensors"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:soil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:solar_networks"/>
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</item>
<item rdf:about="https://gothamist.com/news/nyc-subway-map-gets-first-full-redesign-since-1979?utm_id=433735&amp;sfmc_id=54414440&amp;nypr_member=Unknown">
    <title>NYC subway map gets first full redesign since 1979 - Gothamist</title>
    <dc:date>2025-04-03T14:57:14+00:00</dc:date>
    <link>https://gothamist.com/news/nyc-subway-map-gets-first-full-redesign-since-1979?utm_id=433735&amp;sfmc_id=54414440&amp;nypr_member=Unknown</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The MTA on Wednesday announced plans to roll out its first fully redesigned subway map in more than 40 years, a move transit officials said will make New York City’s byzantine transit system easier to navigate.

The new design aims to clearly identify subway routes that share the same tracks in stretches of the city. Its design combines the type of chunky lines that were on the MTA’s subway map that officials put in place during the 1970s, which was created by famous Italian designer Massimo Vignelli. That map was retired in 1979 because MTA leaders said it was hard to understand, and replaced it with a new design that’s only undergone minor tweaks since.]]></description>
<dc:subject>subways mapping cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:34f60e25573c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
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</item>
<item rdf:about="https://centerforbookarts.org/calendar/2024-cba-research-fellow-talk-carto-graphy-geo-poiesis-writing-the-edge-of-land-body-image-text-art-book">
    <title>2024 CBA Research Fellow Talk: {carto{ graphy : geo {poiesis{ : writing the edge of land/body, image/text, art/book - Center for Book Arts</title>
    <dc:date>2025-04-02T21:13:07+00:00</dc:date>
    <link>https://centerforbookarts.org/calendar/2024-cba-research-fellow-talk-carto-graphy-geo-poiesis-writing-the-edge-of-land-body-image-text-art-book</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[{carto{ graphy : geo {poiesis{ : writing the edge of land/body, image/text, art/book is a talk by artist, writer, and independent scholar Darian Razdar investigating contemporary book arts practices as they relate to writing maps, traversing terrain, and making hybrid forms on Earth today. By playing the binary between the aforementioned themes, Darian Razdar presents a queer ecological approach to making sense of life on a damaged planet and the role of book artists in its representation. Discussing works from Museum of Modern Art Archives and Library, David Solo Collection, and Center for Book Arts, this lecture indexes a range of methods within book arts — from the photographic and poetic to the historiographic and scientific. Overall, the speaker responds within the space opened by the question: how do book artists respond to their territories, and why does this matter?

Titles referenced in this talk include: Above Mott Peak, Alan Bern; At No Point In Between, Zora J. Murff; Erit Pulvis, José Rufino; Exit 30, Katarina Jerinic; Facts on the Ground, Toby Millman; Fresh Creek, Sarah Nicholls; Grey Cobalt, Felicia Honskasalo and Ada Smailbegovic; Instante y Revelación, Octavio Paz and Manuel Álvarez Bravo; Isometric Systems in Isotropic Space: Map Projections, Agnes Denes; Meeting of the Waters (Cruinnú na n-Uiscí), Déirdre Kelly; Sactus Sonorensis, Philip Zimmerman; SP Weather Station: 2008 Reports, Heidi Nelson & Natalie Campbell (with Guest Contributors); The Anatomy of the Image Maps, Bonnie Gordon; The Living Mountain, Awoiska van der Molen and Thomas Larcher; The Lost Journals of Sacajawea, Debra Magpie Earling and Peter Rutledge Koch; The Place of Writing, ed. Kasper Andreasen; Transmission, Lucy Helton, and Xenitia, Etienne Audrey Bruce.]]></description>
<dc:subject>cartography book_arts map_art artists_books mapping media_space writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6647facb5ddb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:book_arts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:map_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artists_books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:writing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://theimpactproject.org/the-impact-map/">
    <title>The Impact Map - The Impact Project</title>
    <dc:date>2025-04-01T04:38:37+00:00</dc:date>
    <link>https://theimpactproject.org/the-impact-map/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Impact Map provides timely data—as it becomes available—on policy, funding, and workforce changes and their localized effect. This tool is currently in beta and will continue evolving,
so you may find areas that need updating.]]></description>
<dc:subject>mapping trump policy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5b8adbcc16e4/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trump"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:policy"/>
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</item>
<item rdf:about="https://www.nfb.ca/film/data_for_decision/">
    <title>Data for Decision - NFB</title>
    <dc:date>2025-03-20T00:08:38+00:00</dc:date>
    <link>https://www.nfb.ca/film/data_for_decision/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This short documentary is a portrait of the early era of computing and the process and implications of the digitization of large amounts of information. Examining the arduous work of assessing and documenting the geographical landscape, including sampling and analysis of soil, forestry, timber, wildlife, resources, industrial sites, and many other aspects, we see that human beings alone couldn't handle the vast amount of information that is collected. A new kind of computer (an “instant library”), the Canada Land Inventory Geo-information System, was developed to help manage and develop Canadian land. This film examines the workings of this new and mysterious machine.]]></description>
<dc:subject>documentary mapping forestry computing_history GIS film</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e9f8dd896bc3/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:forestry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:computing_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:GIS"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:film"/>
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</item>
<item rdf:about="https://prisonculture.substack.com/p/louise-e-jefferson-trailblazing-black?publication_id=1464046&amp;post_id=141137371&amp;isFreemail=true&amp;r=s9ot&amp;triedRedirect=true">
    <title>Louise E. Jefferson: Trailblazing Black Cartographer</title>
    <dc:date>2025-03-18T15:11:39+00:00</dc:date>
    <link>https://prisonculture.substack.com/p/louise-e-jefferson-trailblazing-black?publication_id=1464046&amp;post_id=141137371&amp;isFreemail=true&amp;r=s9ot&amp;triedRedirect=true</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In 1942, Jefferson became the art director for the children and young adult branch of Friendship Press, the publishing branch for the National Council of Churches. She was the first African-American art director in US history, and may have been the first woman. Lou was an artistic polyglot. Reflecting on her experience, she said: “A commercial artist must have an encyclopedic mind–for you can never tell what you will be called on to depict or interpret.”  It was at Friendship Press that she designed her maps.
Jefferson’s Counter-Maps

The four maps Jefferson designed in the 40s were Indians of the United States (1944), Uprooted People of the U.S.A. (1945), Africa: A Friendship Map (1945) and Americans of Negro Lineage (1946). The maps were designed for classroom use, and each include colorful illustrations and text on a map outline. You can view the maps in this blog post by the Library of Congress.

Yessler and Alderman argue maps may be counter-maps when they are created by marginalized groups to exert self-determination, and when they challenge normative ideas of what maps should look like. Jefferson’s maps fit both criteria. Jefferson was almost certainly one of the few African-American woman mapmakers of her day. More, her maps challenge traditional notions of mapmaking by insisting on the presence of Black people and other marginalized people on the land and in history....

Jefferson thus shows that native people are not just a part of history, but are a part of a living present; they are on the map now. She draws indigenous people to show their presence rather than (as is often the case in representations of Native Americans) to show their absence....

Similarly, Africa: A Friendship Map from 1945 includes historical events and personages, but also includes modern textile factories and airplanes, along with a note that refutes colonial arguments for Black people’s incapacity. “There is hardly a type of responsible position in Africa today that is not being capably filled somewhere on the continent by an African,” Jefferson writes in one text segment on the map. “Africans…are teachers, college professors, nurses, doctors, dentists, lawyers, clergymen, engineers and business men.”]]></description>
<dc:subject>cartography counter-mapping mapping blackness indigenous graphic_design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1b719650be3f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:counter-mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:blackness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:indigenous"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://gothamist.com/news/how-to-find-new-york-citys-hidden-parks-and-public-spaces">
    <title>How to find New York City's hidden parks and public spaces - Gothamist</title>
    <dc:date>2025-03-15T05:25:16+00:00</dc:date>
    <link>https://gothamist.com/news/how-to-find-new-york-citys-hidden-parks-and-public-spaces</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[They are New York City's nearly 600 secret oases: plazas, courtyards, rooftop gardens and patches of greenery carved into private buildings. Privately owned public spaces, often referred to as POPs, are free and open to the public — at least on paper. But controversially, they’ve often existed in obscurity.

As with many conundrums, there’s now an app for that. NYC Public Space is a years-in-the-making civic experiment developed by Chris Whong, a mapping-software developer who used to work in the city's planning department and has spent time thinking about what constitutes a public space.

]]></description>
<dc:subject>nyc parks secret_parks mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:845ade7244d4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:parks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:secret_parks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
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</item>
<item rdf:about="https://www.artforum.com/events/ana-amorim-fundacion-cerezales-antonino-y-cinia-1234727464/">
    <title>Ana Amorim at Fundación Cerezales Antonino y Cinia review</title>
    <dc:date>2025-03-14T04:42:18+00:00</dc:date>
    <link>https://www.artforum.com/events/ana-amorim-fundacion-cerezales-antonino-y-cinia-1234727464/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Not that her show here, “Contar Rutinas” (Counting Routines), was specifically about agriculture. Her profound engagement with mapping, site specificity, and land found deep resonance in this context. In fact, many of the twenty-odd works are what Amorim calls “mental maps”—not topographical documents, but rather traces of existence, markers of temporal-spatial dislocations. Amorim first conceived them in the late 1980s, while studying for her MFA at Ohio University: She would draw a map each day on a single notebook page and then exhibit the notebooks closed and stacked, so that individual maps wouldn’t be seen. Prompted by her instructors, she eventually transposed maps to other formats. Some of her pieces—for instance, the large textiles on which Amorim traces and then embroiders her intricate designs, which include words, lines, and other geometric markers—are placed horizontally, on low platforms, like objects to walk around....

Amorim was on-site at FCAYC, recording for thirteen days a mental map of her movements in a notebook kept on a table. Other maps hung on the walls. Simplified Map, 2005, consists of 365 manila shipping labels affixed to a wall. Amorim scavenged the labels in a neighborhood store in São Paulo, reflecting her preference for mundane materials, which proved useful when she volunteered as a “transcommunicator,” translating for the Landless Rural Workers Movement (MST), a nonprofit campaigning for land reform in Brazil.]]></description>
<dc:subject>mapping map_art geotagging mental_maps cognitive_mapping textual_form</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:8089a3002e74/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:map_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:geotagging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mental_maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cognitive_mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textual_form"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://calendar.aiany.org/2025/03/10/the-manhattan-topography-office-hector-rivera-on-maps-planning-and-expansion/">
    <title>The Manhattan Topography Office: Hector Rivera on Maps, Planning, and Expansion - Calendar - AIA New York / Center for Architecture</title>
    <dc:date>2025-03-10T17:32:52+00:00</dc:date>
    <link>https://calendar.aiany.org/2025/03/10/the-manhattan-topography-office-hector-rivera-on-maps-planning-and-expansion/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[1.5 LU

Get an inside look into the world of the Manhattan Topographical Office, as Hector Rivera discusses how he coordinates all the different City Agencies in the world of house numbers and how he determines house numbers. The conversation will be accompanied by maps going back to colonial times which have not been presented publicly before. Explore the cartographical world of maps!]]></description>
<dc:subject>government civil_service mapping cartography urban_planning nyc</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5ee83bf53540/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:civil_service"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:urban_planning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:nyc"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://hyperallergic.com/993299/alex-strada-says-no-to-nimbys/">
    <title>Alex Strada Says “No” to NIMBYs</title>
    <dc:date>2025-03-04T15:28:22+00:00</dc:date>
    <link>https://hyperallergic.com/993299/alex-strada-says-no-to-nimbys/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[That figure is the artist, Alex Strada, who’s a Pratt fellow and the public artist in residence with the New York City Department of Homeless Services and Department of Cultural Affairs. Those aforementioned structures are Mutual Aid Mobile sculptures, which Strada designed with architect Ekin Bilal and which Yasunari Izaki fabricated at Pratt’s woodshop. Throughout the exhibition, visitors are encouraged to donate clothing and essential items; on Saturdays, Strada wheels the sculptures to nearby shelters to distribute these resources directly. The show argues that caring for unhoused and dispossessed people is not a task to be sloughed off to the “city,” that nebulous and often ineffective entity, but rather a responsibility to be shouldered by a collectivity of individuals....

Somewhat unusually for an art exhibition, one of the keystones of Collective Mobilities is a series of paper maps pinned to the wall. Made with Pratt School of Information professor John Lauermann and graduate assistants Yuanhao Wu and Nathan Smash, they tell a tale of individualism made colossally and cruelly manifest on a city scale. One map plots shelter locations with a dark blue conveying a higher density in a certain community district and light blue denoting lower. It’s immediately apparent that certain districts, such as the one encompassing the Bronx’s Highbridge neighborhood, hold disproportionately more shelters than others...

The shapes of these maps mirror the irregular silhouette of the mobile sculptures, which are in turn based on the Brooklyn skyline, as sketched out by Strada during walks throughout the neighborhood. These Mutual Aid Mobiles marry beauty and function, playfulness and pragmatism. They subvert the aesthetic codes that New Yorkers unconsciously understand — the same sixth sense that prickles the skin at the sight of a police uniform, or may compel us to avert our eyes from someone asking for change, tacitly denying an acknowledgment that they exist at all....

These sculptures’ deliberate color schemes are saturated without being facile or condescending; they invite attention, rather than a downward gaze. Their mirrored surfaces reflect the street and its passersby, inducing curiosity and possibly participation, and also allow people to try on the garments and see how they look in them. More fundamentally, they argue that this very action — of being able to choose, rather than just being grateful to be clothed at all — is important. With Collective Mobilities, Strada argues that aesthetic care and dignity are not rewards for attaining basic needs, but something to be found in that dispensation. That art is capable of carrying out that responsibility, and it’s a beautiful thing. ]]></description>
<dc:subject>mutual_aid homelessness installation furniture mapping care</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:0f81c24079ce/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:homelessness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:installation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:care"/>
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</item>
<item rdf:about="https://journals.sagepub.com/doi/abs/10.1177/02637758241263205">
    <title>Terra infirma: On the base map in urban cartography and GIS - Clancy Wilmott, Alexis E Wood, 2024</title>
    <dc:date>2025-02-23T16:05:13+00:00</dc:date>
    <link>https://journals.sagepub.com/doi/abs/10.1177/02637758241263205</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This article investigates the ways in which base maps are a fundamental, but under-recognised, starting point for planners, architects, cartographers and geographic information scientists in urban spatial planning and decision-making contexts. Focusing on the case study of a collaborative mapping project with the Wood Street Commons, an unhoused community in West Oakland, it contends that base maps create a cartographic terra infirma, fundamentally shaping the process of negotiations over urban space in ways that reinforce possessive logics and normalize property as central to the function of the city. Base maps do so by paradoxically absenting all people – with the effect of absenting the occupation of land by unhoused people, while shielding property owners from view while enacting their possession through infrastructure, parcel boundaries and land features. We argue this privileging inherent in the urban base map ultimately fuels a process of “unbecoming” (Fraser, 2018) – a simultaneous invisibilizing and reproduction of spatial inequality – and in response, call for attention towards the politics of base maps from urban cartographers, planners, architects and spatial scientists alike.]]></description>
<dc:subject>mapping cartography base_map</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:faca8d7e3686/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:base_map"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.tandfonline.com/doi/full/10.1080/14649365.2025.2461680#abstract">
    <title>Blank utopias: inheriting the cartographic grid with a people’s atlas: Social &amp; Cultural Geography: Vol 0, No 0 - Get Access</title>
    <dc:date>2025-02-21T15:05:10+00:00</dc:date>
    <link>https://www.tandfonline.com/doi/full/10.1080/14649365.2025.2461680#abstract</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Blank maps have a disastrous history as tools of erasure, silencing, and annihilation. To be mapped as nothing risks extermination. Yet the blank map also offers a counter-cartographic tool for reimagining and reorganizing the present. Drawing on the Notes for a People’s Atlas project, a Chicago-based initiative from 2005 to 2011, this paper explores the diverse emancipatory uses of a blank base map with city outlines. Arguing that blank maps are a particularly interesting site for discussing how we think with maps, I offer two interpretations that demonstrate the performative entanglements of map theories with practice. The first reading is utopian, as it treats blankness as a tool for opening the proverbial and material grids that structure ontological, pedagogical, and political possibilities. The second reading complicates utopian openings by turning to a deconstructive understanding of inheritance. Returning to the scenes of opening, I show how ruptures are contradictory and always entangled with continuing forms of the grid. The notion of inheritance thus offers a helpful antidote to popular tendencies to dismiss or surpass critique. Just as counter-cartography needs strategies for proceeding from critique to emancipation, there has to be a way back into enriched critical capacities. Utopia is complicated, or it is nothing.]]></description>
<dc:subject>cartography blank_maps mapping erasure participatory_mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c8ab7f6a82e6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:erasure"/>
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