In my last post I wrote about context and perspective in mapping, and the biases that are inherent in the information presented in different kinds of maps. Biases, of course, can be dangerous because we generally trust the information maps give us. They are more powerful for their apparent objectivity. The science behind them is sound, we think – after all, cartography is based on empirical data.
But just as maps can inform us, they can also make us ignorant – of context, of specific details, and of what we don’t know – even while they’re giving us other information. It isn’t just what we see in the frame that matters, but also what we don’t see, what’s left out. In conveying information, art can be as important as accuracy, and sometimes even more so.
Most early maps contained a lot of information. When little was known about the area beyond what had been explored, cartographers would create a sense of danger and excitement by inserting allegorical images, fantastical creatures, or mythical mountain ranges. They would decorate the frames with pictorial Biblical references, or symbols of their nation’s prowess at exploration and conquest.
In the above (relatively complete!) map of Africa from the 1600s, note the prevalence of mountain ranges and large rivers (that don’t really exist) and the animal drawings used to take up space. Also note the many decorations of ships in the ocean around the frame (side note: web address watermark not included on the original). What is silent? The cartographer’s ignorance – about the interior topography and other geographical markers. But a casual observer then would not have known this.
It was considered a great leap forward when in 1759 cartographers – influenced by French mapmaker Jean Baptiste Bourguignon d’Anville and the Enlightenment tradition dictating that all maps be empirically verifiable – begun to leave blank spaces if precise information about parts of the areas they were mapping was unclear. The practice served to encourage new forays into the “unconquered” and “uninhabited” areas they depicted to determine, for example, the as-yet undiscovered mouths of rivers or the potential treasure/glory/conquest that lay beyond established borders. But primarily these blank spaces lent increasing credibility to what was shown (whether it was accurate or not), by silencing everything else.
Accentuating some pieces of information over others with emphasis and silence grew in popularity even further as the centuries progressed. The most common world map we see, for example, privileges the northern hemisphere over the southern through the use of Mercator’s projection. It also puts the Western world – whether Europe or North America – in the centre of the frame, relegating all other areas to the peripheries.
In the map above, the bright red colour of Britain’s imperial territories contrasts with the neutral colour of other lands. Islands of small geographical significance jump from the page with red underlines and heavy black labels indicating that they are strategic refuelling outposts, places that ship spices back to Britain, or simply more territory in red. Mercator’s projection is used to great effect, enlarging North America even above the bounds of the map’s frame, at the expense of the southern hemisphere.
It is all intended to provide a sense of a vast, interconnected Empire. While looking at this, viewers might fail to notice the absence of information not related to Britain’s imperial conquest. About other lands, the map is relatively silent, because they are not the focus.
Maps are now used for all kinds of things – everything from directions to websites or thoughts. The proliferation of maps has tended to swell the number of those used for a single purpose, and the trend seems to be toward more specificity but less context.
Consider subway maps, most of which are a legacy from the modernist era. They fall squarely into the “art” over “accuracy” way of conveying information, and are characterized by highly stylized lines, multiple colours and use of sans-serif fonts. The most famous, of course, is Harry Beck’s map of the London Underground, which dates to 1931. Its genius lies in its abstraction, its ability to draw order in the form of clean and easy-to-read visuals from the confusion and complexity of the actual system. Compare the official underground map with the actual map of the subway stations from above the ground:
It takes a certain genius to create schematic subway map order from chaos; no doubt this is the reason these maps are such iconic art pieces, found on buttons, t-shirts, and posters the world over. It’s fascinating to me that they are so simple and so focused – and yet divorced from the actual geography they represent. Almost every major city is the same.
- Even maps of New York City’s frenzied system are relatively simple. But sometimes accuracy wins out over art. In 1975, the New York City transit authority determined that the map they had been using to that point was too much so, and commissioned something that would line up more with the streets above ground. (You will find a fascinating interview with the designer of the 1979 map, which was only just retired a few years ago, as well as several old subway maps from NYC, here.) Yet even this more “accurate” and “realistic” new map has some deviations from reality: Manhattan, and lower Manhattan in particular, have been expanded to accommodate the landmarks and subway lines that all seem to converge there; Brooklyn and the other boroughs are made relatively smaller than their actual size.
- It would seem that for clarity or for a great story, some alteration is always necessary, and a bit of silence too. No map designed to emphasize transit lines could hope to show every street, and of course designers realize this. People are perhaps more willing to put up with silence and abstraction in maps now because they are used to it, and because maps are not expected to be geographically accurate to be authoritative. It’s an interesting trend that points to our increasing ability to cope with the abstraction and de-contextualization of cartography, even as the broader minimalist modernism movement appears to be winding down (the ever-popular clean lines of IKEA products notwithstanding). What does it mean for the future of maps? Will the definition of a map become ever-broader as we incorporate variations from site maps to schematics? Or do we need a new name for this kind of information vehicle altogether?
This post is part two of a three-part series on the past, present and future of mapping. Check back for a wrap-up later this week.