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Maris Pacific, by Abraham Ortelius 1589, shows more information about the Pacific including the Carolines and the Palaos (Palau).
Wikimedia Commons (commons.wikimedia.org/wiki/File:Ortelius_-_Maris_Pacifici...)
Georgia National Guardsmen from the 48th Infantry Brigade Combat Team make a plan around map board May 12, 2018 during Joint Readiness Training Center rotation 18-07 in Fort Polk, La. (Photo by JRTC Operations Group PAO)
Young women and Peace Corps volunteers in Keur Daouda Cisse, Senegal, use PACA tools to map resources within their village as a part of the SIIL/Peace Corps Senegal partnership.
Photo by Aliou Faye, Senegal Coordinator, 2018
Heather Smith Jones
Anna Copron
Sean Auyeung
Edibeth Farrington
Susan Schwake
and
Stephanie Levy
at artstream studios gallery
November 2, 2007 - January 2, 2008
mapping the customer journey of an IT buyer / executive deciding to use Citrix Workspace Cloud services.
Mapping Wikipedia - English World
www.tracemedia.co.uk/mapping_wikipedia_timeline/
These two maps were redrawn from an article published 1997 in the journal Nature, by our colleagues Cesare Cislaghi and Pier Luigi Nimis. Using the example of the famous Veneto region in northern Italy, they depict how lichen diversity and lung cancer mortality in young men are correlated. Not that low lichen diversity causes lung cancer, but both are connected to air pollution caused by particles and gases such as sulphur oxides, nitrogen oxides, carbon monoxide, methane, heavy metals, and free radicals. The principal sources for these pollutants are vehicle traffic, factories, power plants, and waste incinerators. Lichens are extremely sensitive to air pollution and serve as biological indicators, a fact already discovered around 1860.
Since the late 1950s, lichens have been used to "map" air pollution, and very sophisticated protocols were developed for this purpose in North America and Europe. Lichen mapping is a frequent and widespread technique, and the results from these and other studies on pollution and its effects on human health led to the introduction of filters for industrial compounds, the automotive catalyst, and unleaded gasoline. Continued studies demonstrate that measures to reduce air pollution have led to substantial recovery of lichen communities in urban areas. Unfortunately, the situation is still unsatisfactory in developing countries, where massive vehicular traffic using old cars, buses and trucks, and industrial sources maintain high levels of air pollution. Our L-team is involved in several projects performing lichen mapping in urban areas in Guatemala, Costa Rica, Colombia, Bolivia, and Brazil, to help providing data that hopefully lead to better air quality in these regions.
(c) The Field Museum, Robert Lucking
Participants at the World Economic Forum on the Middle East and North Africa 2015 in Jordan. Copyright by World Economic Forum / Faruk Pinjo
Livermore researchers calculated the most favorable binding arrangements and locations for several key proteins during acetaminophen metabolism to help determine which reactions produce which by-products. Free-energy mapping (right) and binding calculations (insets) show that the protein CYP2E1 prefers site 1, a configuration and binding location leading to N-acetyl-p-benzoquinone imine (NAPQI), a by-product of acetaminophen that can cause liver damage. Site 2, another possibility, would produce a nontoxic by-product; however, it has a higher free-energy value, so a reaction is much less likely.
Participants at the World Economic Forum on Africa in Abuja, Nigeria 2014. Copyright by World Economic Forum / Benedikt von Loebell
Preparations for the trip up to Preston. As it turned out, the weather prediction was accurate and the bunkers were where they ought to be. We didn't have time to visit the hospital and the standby set house (marked substation on the map) has been demolished and replaced by a Plymouth Brethren Church.
Mapping workshop in Wambio, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Mapping workshop in Nakhon, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Social media training for technical staff at the UN Food and Agriculture Organization (UNFAO), October 2012. Photos: V. Meadu.
estación: ESPACIO saudade pelo futuro incarnata muse lives life alive in illicit harmony experience love organic architecture whole new way of looking and seeing immersed in light painting now with no filter only 100% real organic naturally occurring analog physical geometric mathematical motion blur un poco loco algoRhythmic ambient guru perfection liquid flow god's dj jet set design graffiti urb scribble urban bright chaos fractal iteration mad busy hectic highway freeway traffic strobing neon signs contemporary abstract expressionism vs. the representational and objective expression and communication of movement and light exploration by means of the rich language of film movies and music thru the fluent use of the vocabulary of moire patterns bokeh and high speed blurry light trails kinetic street art of photography long exposure multiple time distortion compression shooting dtla while driving fast smooth inspired by film noir Ridley Scott Blade Runner, Roman Coppola movie CQ, Ghost in the Shell, etc…
#adobeillustrator #designer #abstract #algorithmic #vector #graphics #future #art #visual #artist #eye #minimalist #monochromatic #opart #logo #packaging #record #cover #graphic #graphicdesign #lines #golden #light #reflection #symmetry #circle #círculo #geometry #geometric #geometría
modern, abstraction, sublime, minimal, subliminal, disque, optique, moiré, orb, sun, star, planet, ambient, atmosphere, atmospheric, sci-fi, movie, cinematic, style, video, azulejos, mosaïque, mosaico, mosaic, retro, futuristic, poster
ortho projection mapping 3D dream subtle ambiance symbolism que hubo cubos totally immersive cubic room cubism cubismo logo spin wax blacklight horizontal universal symbol exploding atomic FUEGO sunstar crown mandaLA wireFrame red rad radio flying out golden radial nuclear sepia vector in all directions at once ninja star ojos de brujo infographiste cyber goth rave punk rock
ilusión óptica para vuestro placer retinal
Animated Blend Cymatics
Resonance Made Visible
Hard-as-Math, dots, lines, shimmer, swirl
As much as how presentable a person looks, others tend to have an impression of how they live gloriously and elegantly.
Here in my opinion is a small and an overlooked scene of the lives of city folks.
Hatching a plan from Smith Rock to Red Rock
Prints and Image Licensing now available on all images. Contact: thomas@teacozydesign.com
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Image shows progress of mapping. The Oregon DOT used LiDAR technology to plan changes to passing lanes and speed zones in conjunction with the speed limit changes in central and eastern Oregon effective March 1, 2016. Learn more on our website: www.oregon.gov/ODOT/COMM/Pages/Speed-Limit-Increases-in-2....
Participants at the World Economic Forum on Africa in Abuja, Nigeria 2014. Copyright by World Economic Forum / Benedikt von Loebell
institutions of Resolution Disputes [iRD]
Even though the iRD mimics an institute, in reality it is not a classic, institutional organ. Instead, the iRD multiplexes the term institution, by revisiting its usage in the late 1970s. Back then, Joseph Goguen and Rod Burstall formulated the term institution as a ‘more compound framework’, that dealt with the growing complexities at stake when connecting different logical systems (such as databases and programming languages) within computer sciences. While these institutions were put in place to connect different logical systems, they were not logical themselves.
Inspired by the idea of hyper functional, yet illogical frameworks, the iRD is dedicated to researching the interests of anti-utopic, obfuscated, lost and unseen, or simply ‘too good to be implemented’ resolutions.
The institutions of Resolution Disputes [iRD] call attention to media resolutions.
While ‘the resolution’ generally simply refers to a determination of functional settings in the technological domain, the iRD stresses that a resolution is indeed an overall agreed upon settlement (solution). However, the iRD believes that a resolution also entails a space of compromise between different actors (objects, materialities, and protocols) in dispute over norms (frame rate, number of pixels etc.). Generally, settings either ossify as requirements and de facto standards, or are notated as norms by standardizing organizations such as the International Organization for Standardization. We call this progress*.
However, resolutions are non-neutral standard settings that involve political, economical, technological and cultural values and ideologies, embedded in the genealogies and ecologies of our media. In an uncompromising fashion, quality (fidelity) speed (governed by efficiency) volume (generally encapsulated in tiny-ness for hardware and big when it comes to data) and profit (economic or ownership) have been responsible for plotting this vector of progress. This dogmatic configuration of belief x action has made upgrade culture a great legitimizer of violence, putting many insufficient technological resolutions to rest. While a resolution can thus be understood as a manifold assemblage of common - but contestable - standards, it should also be considered in terms of other options; those that are unknown and unseen, obsolete and unsupported within a time and (technological) space.
Resolutions inform both machine vision and human ways of perception. They shape the material of everyday life in a pervasive fashion.
As the media landscape becomes more and more compound, or in other words, an heterogenous assemblage in which one technology never functions on its own, its complexities have moved beyond a fold of everyday settings. Technological standards have compiled into resolution clusters; media platforms that form resolutions like tablelands, flanked by steep cliffs and precipices looking out over obscure, incremental abysses that seem to harbor a mist of unsupported, obsolete norms.
The platforms of resolution now organize perspective. They are the legitimizers of both inclusion and exclusion of what can not be seen or what should be done, while ‘other’ possible resolutions become more and more obscure.
It is important to realize that the platforms of resolutions are not inherently Evil*. They can be impartial. We need to unpack these resolutions and note that they are conditioning our perception. A culture that adheres to only one or a few platforms of resolutions supports nepotism amongst standards. These clusters actively engage simpleness and mask the issues at stake, savoring stupidity, and are finally bound to escalate into glutinous tech-fascism.
The question is, have we become unable to define our own resolutions, or have we become oblivious to them?
Resolutions do not just function as an interface effect*, but as hyperopic lens, obfuscating any other possible alternative resolutions from the users screens and media literacy. When we speak about video, we always refer to a four cornered moving image. Why do we not consider video with more or less corners, timelines, or soundtracks? Fonts are monochrome; they do not come with their own textures, gradients or chrominance and luminance mapping. Text editors still follow the lay-out of paper; there is hardly any modularity within written word technologies. Even ghosts, the figments of our imagination, have been conditioned to communicate exclusively through analogue forms of noise (the uncanny per default), while aliens communicate through blocks and lines (the more ‘intelligent’ forms of noise).
The user is hiking the resolution platforms comfortably. He is shielded from the compromises that are at stake inside his resolutions. Unknowingly suffering from this type of technological hyperopia, he keeps staring at the screens that reflect mirage after mirage.
A resolution is the lens through which constituted materialities become signifiers in their own right. They resonate the tonality of the users hive mind and constantly transform our technologies into informed material vernaculars.
Technology is evolving faster than we, as a culture, can come to terms with. This is why determinations such as standards are dangerous; they preclude alternatives. The radical digital materialist believes in informed materiality*: while every string of data is ambiguously fluid and has the potential to be manipulated into anything, every piece of information functions within adhesive* encoding, contextualization and embedding. Different forms of ossification slither into every crevice of private life, while unresolved, ungoverned free space seems to be slipping away. This is both the power and the risk of standardization.
We are in need for a re-(Re-)Distribution of the Sensible*.
The iRD offers a liminal space for resolution studies. Resolution studies is not only about the effects of technological progress or about the aesthetization of the scales of resolution. Resolution studies is a studies on how resolution embeds the tonalities of culture, in more than just its technological facets.
Resolution studies researches the standards that could have been in place, but are not. As a form of vernacular resistance, based on the concept of providing ambiguous resolutions, the iRD employs the liminal resolution of the screen as a looking-glass. Here, hyperopia is fractured and gives space to myopia, and visa versa. This is how iRD exposes the colors hidden inside the grey mundane objects* of everyday life.
The iRD is not a Wunderkammer for dead media*, but a foggy bootleg trail for vernacular resistance.
Progress has fathered many dead technologies. A Wunderkammer, or curiosity cabinet of media resolutions would celebrate these dead objects by trapping them inside a glass bell, relieving them indefinitely of their action radius. While the iRD adheres to the settlements of governing media resolutions, it also welcomes ventures along the bootleg trails of the tactical undead*. These undead move beyond resolution, through the literacies of the governing techno-cultures, into liminal spaces. They follow the wild and uncanny desire paths that cut through sensitive forms and off-limit areas into speculative materialities, futures and critical turns*. They threaten the status quo of secure forms of media and provide the ambiguity that is so necessary for inspiration, action and curiosity.
The iRD believes that methods of creative problem creation* can bring authorship back to the layer of resolution setting.
Resolution theory moves against what seems like an unsolvable puzzle of flattening reality. The iRD function one way trail straight into the Sea of Fog and towards the abyss of techno-norms. The iRD can however also be a modular framework, that opens and expands standards through inspection and reflection. As any good theory of media, resolution theory is a theory on literacy. Literacy of the machines, the people, the people creating the machines and the people being created by the machines. Through challenging the platforms of resolution, it can help the wanderer to scale actively between these states of hyperopia and myopia. It can uncover crystal cities of fog as well as shine a light on the soon to be distributed futures. Here we can mine for the yet unscreened timonds.
I love mapping things. I used to be much better at it; neater, with the squared paper and the coloured pencils.
I missed off all the tables we never really use. :-}
Mapping workshop in Wambio, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Participants at the World Economic Forum on Africa in Abuja, Nigeria 2014. Copyright by World Economic Forum / Benedikt von Loebell
Mapping workshop in Nakhon, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Mapping workshop in Nakhon, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Social media training for technical staff at the UN Food and Agriculture Organization (UNFAO), October 2012. Photos: V. Meadu.