2 10 88 Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Color Description An account of the resource Because my map is in German, there is much about it that I still don't understand. That's frustrating on some level, but it has also allowed me to employ the map-studying technique of ignoring text to focus on the visual components of the map and the ways in which they work together. One of the most striking such elements are the blocks of pale color used to subdivide the city. For my first layer, I wanted to capture these pastel zones and think about how they might be interacting with the rest of the map. Carrying this out made me more aware of several things: the way the river has been mastered to flow around and through the central city's defense walls, the abundance of zoned "green space" in the suburbs of the city (which mysteriously does not encompass all tree-heavy areas, signifying some distinction between different kinds of park areas), and the ongoing mystery of the pink sections. From a purely visual perspective, these pale complimentary colors are part of what makes this map so pleasing to me. From an information perspective, they are a bold and effective way of dividing space—but I still don't fully understand their implications. Creator An entity primarily responsible for making the resource Emma Talkoff Tracing Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Map layer Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Cultural Depictions Description An account of the resource This layer includes the 12 illustrations of people from different cultures in the map. The images are grouped by region and labeled with Japanese characters. I believe these depictions represent the desire of the mapmaker to make sense of the differing cultures that populate the globe. This map is attributed to the year 1850, a period during which Japan was beginning to make contact with the rest of the world. The different characterizations of cultures in the images, ranging from sophisticated to combat-focused, reflect the mapmaker's general understanding of the different ethnicities depicted. Creator An entity primarily responsible for making the resource Esther Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Field Terrain Description An account of the resource This layer depicts the fields on the outskirts of the territory of Berlin. They are distinct from the enclosed properties in and around the city, and are set off with horizontal lines. This field terrain is the most peripheral area depicted on the map of Berlin before the map turns to negative space, which suggests the field terrain was an important marker of the outer bounds of the city. I initially hesitated to isolate the field terrain from other types of terrain depicted on the map (for example, the map contains territories with gardens or other enclosed plots of land, populated with tiny trees), because terrain would technically belong in single layer. In the end, however, the field terrain stood out to me because its lack of definitive enclosure (unlike the contained plots of land), and its distinct color and shading. Creator An entity primarily responsible for making the resource Olga Kuzmina https://s3.amazonaws.com/atg-prod-oaas-files/hist1952-17/original/6b1008d38721926b70e7611d6180ee5c.JPG 7e0bc0023d77483dc6e1bea1368898df Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Geographic Coordinate Foundation Description An account of the resource This layer shows the latitude and longitude lines in all four panels of the map (the two hemispheres and the two poles). Included are the latitude and longitude degrees, with the equator clearly demarcated. As a world map, relative sizes and distances are important, so having this distinct foundational layer helps the viewer see these differences in space. Creator An entity primarily responsible for making the resource Matthew Goodman Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Geographical Features (Mountains) Description An account of the resource Description: Green-blue colored mountains can be seen in almost all continents of the map except for Japan and South America. Significance: Geographic features, primarily of mountainous regions give an image of how Japanese thought about natural terrains in the world. It may be worthwhile noting that the mountains in North America seem to be scattered across the land whereas the mountains in Eurasian areas seem to be more organized or are solely serving as continental boundaries. It is highly likely that the land orientation in the Americas was not understood well by the Japanese because they had technically closed off their country for 200 years. There is also a chance, however, that North Americans were perceived as disorganized or disintegrated types of people, divided by natural boundaries and possibly in a figurative sense, political boundaries as well. The one mountain illustrated inside Japanese borders is the only white mountain on the map and it seems to be of relatively big scale. This may be portraying Mount Fuji, symbolizing the Japanese admiration for what they possibly could have thought was the biggest natural landmark of the world. It may also be worth mentioning that there are relatively lightly colored mountains in the continent of South America. As far as what the geographical illustrations on the left side may have represented, the cartographer may have thought the Andes mountains were significantly tall as well and decided to illustrate them. The landmark represented by mountains on the right side of the continent, however, is unclear. Creator An entity primarily responsible for making the resource Joki Kano Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Geometric Template Description An account of the resource This layer is the combined latitude and longitude lines of the map, complete with degrees and other lines of reference. It demarcates the physical system of space measurement that lends credence to the map's representation of area. It also serves as a reference point for distance and the respective shapes and positions of landmasses. I made it the first layer because the drawing of landmasses presupposes a reliable system for determining the relative positions and areas of objects in space. Creator An entity primarily responsible for making the resource Julian Rauter Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Organizational Lines Description An account of the resource The organization of my map, Sekai bankoku Nihon, depends on segmentation of a variety information. The segmentation is facilitated by black lines of various widths that form boxes and borders for text, drawn depictions of people from around the world, compasses and other forms of information. There is a curved oval line around the perimeter of the representation of the world and there are boxes overlayed on the map and jutting out from the edges. Interestingly, some of the Japanese text on the map is written right on the drawings of land masses or ocean but other chunks of text are bounded by boxes. This hints at a hierarchical ordering of text used on the map. Perhaps the text in boxes labels something at a larger scale, like a continent or broader region instead of a certain country to city. As someone who can not read Japanese, the segmentation of information in and out of boxes is crucial to me for identifying where the most important information (according to the map's designer) is written. The pictorial renderings of people from different regions are also contained in boxes, meaning the mapmaker wanted that information to be implicitly related to the map but not interfering with the depiction of physical territory. In summary, this level of organization of the map influences our perceptions about what the most important pieces of information are and how the text/art is related to the part of the map that depicts the physical world. Creator An entity primarily responsible for making the resource Tomas Spiers Tracing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Perspective Description An account of the resource Layer one deals with perspective, and what truly constitutes a map within a map. Indeed the perspective drawing beneath the map proper is a map in and of itself, and offers the reader, quite literally, a different angle of 1737 Berlin which was purposefully chosen by the cartographer and serves to ground the reader’s perspective of the map in its totality, and in relation to its other elements. The illustration and its corresponding index together comprise more than one quarter of the map’s total area which communicates its importance in the most practical sense. The caption in German reads roughly (this translation proved difficult even for a native German speaker), “Plan of the city of Berlin as seen by people from the North West.” This information, along with the centrally drawn windmill, and the location of the indexed Weidendamer Bridge (with the help of google maps) positively locates the reader in the bottom right hand corner of the map (shown at windmill). Apart from mentally situating the reader in two places at once (illustrated ground level, and a cartesian point on the traditional map), the process of discerning this location alerts the reader to the map’s inverted compass and offers a detailed view of the built environment of center city Berlin. In this sense the illustration situates the reader in both three and two dimensional space. It invites exploration of the rest of the map’s elements through this specific spatial vantage point, which serves to define these other elements relative to this specifically chosen location. As a result this perspective and its corresponding location are a lens through which the rest of the map can be viewed. Creator An entity primarily responsible for making the resource Ryan Taras Tracing Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Map Layer Physical Dimensions The actual physical size of the original image Original Map: 440 x 320 mm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Pink (Terra Australis) Subject The topic of the resource Sekai bankoku Nihon yori kaijō risu kokuin ōjō jinbutsuzu (世界萬國日本ヨリ海上里数国印王城人物図) Description An account of the resource What it is: The pink layer primarily captures the southern landmass that stretches horizontally across the bottom of the map. The map is outlined in a uniform solid black line and presumably traces the coastline/border of the southern landmass. It borders the “Southwest Sea,” Big South Sea” and “Southeast Sea.” It also has clusters of islands off its coast, one of which is labelled “White People Island.” The landmass is cut off on the bottom at a specific latitude, and the landmass is covered by various texts and pictorial depictions of foreigners. Also, the pink pigment is light, which allows various other colors to be stamped on top of it. For instance, there are six blue mountain ranges, labels/texts, and squares with a hollow center (presumably cities/settlements) that are located on top of the pink area. Why it is important: This is one of three modes of depicting Terra Australis (Akeroyd 2016: 257), which illustrates the partial permeability of Japan’s "sankoku" system through its trading post in Nagasaki (Bolitho 2005: 22). The map displays Japanese cognizance of foreign lands, primarily conveyed in European maps, which support the idea of an important trading post like Nagasaki allowing for the continuous flow of knowledge in and out of Japan. However, the idea of Terra Australis was largely outmoded by 1850. The Dutch began to explore Australia in 1606, from its foothold in the Spice Islands and had explored much of the Australian coastline within half a century. Considering this in tandem the map’s resemblance Matteo Ricci’s "Kunyu Wanguo Quantu (坤輿萬國全圖)" published in 1602, there were cartographic advances that the 1850 map did not consider (Ricci 1602). It was more interested in portraying foreign and exotic elements like “White People Island” or the “Ghost countries” in the north. Hence, the 1850 map was probably reproduced without thorough considerations for cartographic veracity, supporting its function as similar to that of a Nagasaki-e postcard, extending ideas of foreign lands and exoticism. Citations: Akeroyd, Catherine. "Depicting 'Terra Australis': An Analysis of the Imagery on the Unknown Southern Continent on Renaissance World Maps, 1520s-1620s." Imago Mundi 68, no. 2, 257. 2016. Bolitho, Harold. “The Edo Period: 1603-1868.” In The Hotei Encyclopedia of Japanese Woodblock Prints, edited by Amy Reigle Newland and Julie Nelson Davis, 17-35. Amsterdam: Hotei Publishing, 2005. Ricci, Matteo. "Kunyu Wanguo Quantu (坤輿萬國全圖) ." Map. Beijing, China: Matteo Ricci, 1602. Accessed September 23, 2017. https://www.wdl.org/en/item/4136/#q=Ricci&qla=en. Creator An entity primarily responsible for making the resource Al Lim Source A related resource from which the described resource is derived http://id.lib.harvard.edu/aleph/012316889/catalog Date A point or period of time associated with an event in the lifecycle of the resource 1850? Language A language of the resource Japanese Tracing Original Format The type of object, such as painting, sculpture, paper, photo, and additional data map layer Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Layer 1: Spheres Description An account of the resource Perhaps the most intrinsic element of a map are the shapes which guide and inform the reader’s perspective. The art of transforming a three dimensional land mass into a two dimensional piece of paper is reliant on orienting the reader’s line of sight. Vischer’s Novissima totius terrarum orbis tabula relies on four spheroids with two depicting the East-West hemispheres that lie between a proposed meridian. The second set depict azimuthal projections of the North and South Poles where the Earth’s axis meets its surface–this means that the poles are mapped according to flat planes rather than the conic projections of the East-West Hemispheres. I chose not to include these projection lines, however, because of the symbolic nature of empty spheroids. Whereas layers of the map such as the continents, and land-water hemispheres inevitably depict the cartographer’s bias, spheroids are a simplistic and rather equalizing element of the map. They rid the map of the scale distortion that comes from projection lines as well as the colonial distortion that comes from continent/country inclusion. I believe the spheroids to be the map in its most raw form. Creator An entity primarily responsible for making the resource Reade Rossman