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Using a lot of book paper I added graph paper from a moleskin book and scrap paper that suited. The flowers are a gelli print on deli paper
This edition of linocuts is inspired by a 1918 photo of an all female survey crew in the American west (as part of the Minidoka Project in Idaho). Each print is burnished by hand on delicate Japanese kozo (or mulberry) paper, 14" by 11" (35.6 cm by 28 cm) and embellished with actual scientific field maps from western North America. These hard-working women would have produced the sorts of data fundamental to producing the maps like these geological, topographic and seismicity (or earthquake) maps. The history of science is not only a series of exploits of well-known genius experimentalists, famous for their eureka moments; nor is it simply a tale of paradigm shifts brought about by wiser theorists who suddenly saw the need to shift the entire underpinnings of a given field of science. The history of science is also a tale of hard work by countless unknowns; an all-female survey crew from the early twentieth century seem especially unknown. We have no record of their names and they do not fit our preconceived notions of who explored and mapped the west, or who did fundamental scientific grunt work.
The series came out of a custom order. The photo has been an inspiration for part of Mapping Meaning (www.mappingmeaning.org) a SciArt collaboration of artists, scientists and scholars to explore "questions of social, mental, and environmental ecology". I proposed portraying these women and incorporating vintage geological, topographic and seismicity maps of the western North America, so that each print would be unique. All of the vintage maps came from the Geological Survey of Canada and were actually used in the field - as a tip of the hat to these women.
Handcrafted & Hand Painted World Globes. Made Bespoke To Order In London.
Photos by Jade Fenster
Bellerby & Co Globemakers
This edition of linocuts is inspired by a 1918 photo of an all female survey crew in the American west (as part of the Minidoka Project in Idaho). Each print is burnished by hand on delicate Japanese kozo (or mulberry) paper, 14" by 11" (35.6 cm by 28 cm) and embellished with actual scientific field maps from western North America. These hard-working women would have produced the sorts of data fundamental to producing the maps like these geological, topographic and seismicity (or earthquake) maps. The history of science is not only a series of exploits of well-known genius experimentalists, famous for their eureka moments; nor is it simply a tale of paradigm shifts brought about by wiser theorists who suddenly saw the need to shift the entire underpinnings of a given field of science. The history of science is also a tale of hard work by countless unknowns; an all-female survey crew from the early twentieth century seem especially unknown. We have no record of their names and they do not fit our preconceived notions of who explored and mapped the west, or who did fundamental scientific grunt work.
The series came out of a custom order. The photo has been an inspiration for part of Mapping Meaning (www.mappingmeaning.org) a SciArt collaboration of artists, scientists and scholars to explore "questions of social, mental, and environmental ecology". I proposed portraying these women and incorporating vintage geological, topographic and seismicity maps of the western North America, so that each print would be unique. All of the vintage maps came from the Geological Survey of Canada and were actually used in the field - as a tip of the hat to these women.
Using a lot of book paper I added graph paper from a moleskin book and scrap paper that suited. The flowers are a gelli print on deli paper
www.etsy.com/listing/52150484/singapore-mapcut
24" length x 18" height
cut from white bristol paper (heavy-weight, acid-free, 100 lb., smooth surface)
Notice "HIGHWAY" positioned above the route number.
These signs attached to signal support structures provide street names entirely in capitals, and I therefore judge them to be of a former design. Newer signs attached to signal support structures do not provide street names entirely in capitals.
Contrary to Wikipedia, the majority of Dundas St in Whitby is not Regional Hwy 2 and in Oshawa, King St and Bond St are not Regional Hwy 2. Regional Hwy 2 actually has two discontinuities in the Municipality of Clarington.
Kingston Rd in Ajax and Pickering is Regional Hwy 2.
The Regional Municipality of Durham has a list of regional roads on its site: www.durham.ca/en/living-here/regional-roads-list.aspx
I suspect the portions of former King's Highways 2, 12 and 47, which are currently not regional roads, were transferred from the province directly to Clarington, Oshawa, Uxbridge Twp and Whitby. I suspect said portions were never part of Durham Region's regional road system after the download from the Province of Ontario.
Durham has been considering adding additional portions of former King's Highway 2 to its regional road system. web.archive.org/web/20190731151849/https://icreate7.esolu...
An inset on the 2004 Edition MapArt Ontario road map colours parts of former King's Highway 2 in Durham yellow and other parts of it white, indicating that parts are regional and other parts are local, respectively. Most of Dundas is white. King and Bond are white. Two sections in Clarington are white. Former King's Highway 12 south of RR 28 is white, indicating it is a local road. The regional road numbers 2 and 12 are provided on the yellow portions with "HWY". There is no legend for the insets. A newer MapArt Golden Horseshoe atlas has a page which colours the same sections yellow or white. The atlas provides a legend for this page, which provides the meaning of the yellow colour - that a road has the status of a regional or county road.
King St, Bond St, the local part of Dundas St, the local part of Brock St, etc. are can be erroneously marked on maps as regional roads. Maps are often outdated and mark them as the King's Highways that they once were. A map error that I have come accross is Quinte West Rd 28 being marked on a parallel road on the north side of the actual Road 28. (The actual Road 28 is on the south side of Wooler. A road on the north side of Wooler gets erroneously marked as Road 28.)
This edition of linocuts is inspired by a 1918 photo of an all female survey crew in the American west (as part of the Minidoka Project in Idaho). Each print is burnished by hand on delicate Japanese kozo (or mulberry) paper, 14" by 11" (35.6 cm by 28 cm) and embellished with actual scientific field maps from western North America. These hard-working women would have produced the sorts of data fundamental to producing the maps like these geological, topographic and seismicity (or earthquake) maps. The history of science is not only a series of exploits of well-known genius experimentalists, famous for their eureka moments; nor is it simply a tale of paradigm shifts brought about by wiser theorists who suddenly saw the need to shift the entire underpinnings of a given field of science. The history of science is also a tale of hard work by countless unknowns; an all-female survey crew from the early twentieth century seem especially unknown. We have no record of their names and they do not fit our preconceived notions of who explored and mapped the west, or who did fundamental scientific grunt work.
The series came out of a custom order. The photo has been an inspiration for part of Mapping Meaning (www.mappingmeaning.org) a SciArt collaboration of artists, scientists and scholars to explore "questions of social, mental, and environmental ecology". I proposed portraying these women and incorporating vintage geological, topographic and seismicity maps of the western North America, so that each print would be unique. All of the vintage maps came from the Geological Survey of Canada and were actually used in the field - as a tip of the hat to these women.
In the mid-1980s I was a devoted SST fan and bought tons of vinyl from them. The label was mainly famous for its hardcorde punk bands, Black Flag, the Hüskers, Blast, but they also supported a number of more experimental artists, even venturing into the nieche market of free improvisation. SST also prevented the understated genre of hard rock, which was hardly considered hip in those days, from total oblivion by giving bands like Saint Vitus and D.C.3 a platform.
Cover art by MAPART, University of Bremen, West Germany (at that time fractals were still cutting edge science, they probably used a supercomputer for something that your smartphone can do better today).
The Locust - 2:46
The Good Hex - 4:56
Remain Forever True - 4:35
If We'll All Be Free - 6:19
No One but Yourself to Blame - 4:15
The Maniac - 5:04
Home Is where You Hang Your Head - 3:17
Bang Bang Bang Bang - 4:11
This edition of linocuts is inspired by a 1918 photo of an all female survey crew in the American west (as part of the Minidoka Project in Idaho). Each print is burnished by hand on delicate Japanese kozo (or mulberry) paper, 14" by 11" (35.6 cm by 28 cm) and embellished with actual scientific field maps from western North America. These hard-working women would have produced the sorts of data fundamental to producing the maps like these geological, topographic and seismicity (or earthquake) maps. The history of science is not only a series of exploits of well-known genius experimentalists, famous for their eureka moments; nor is it simply a tale of paradigm shifts brought about by wiser theorists who suddenly saw the need to shift the entire underpinnings of a given field of science. The history of science is also a tale of hard work by countless unknowns; an all-female survey crew from the early twentieth century seem especially unknown. We have no record of their names and they do not fit our preconceived notions of who explored and mapped the west, or who did fundamental scientific grunt work.
The series came out of a custom order. The photo has been an inspiration for part of Mapping Meaning (www.mappingmeaning.org) a SciArt collaboration of artists, scientists and scholars to explore "questions of social, mental, and environmental ecology". I proposed portraying these women and incorporating vintage geological, topographic and seismicity maps of the western North America, so that each print would be unique. All of the vintage maps came from the Geological Survey of Canada and were actually used in the field - as a tip of the hat to these women.