2 10 88 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 3: Red (Asia) 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 red layer includes the Asian landmass, the outline of Japan, the sun, the northern star, two rivers, several base colors for labels and colorings on the characters. There are several island groups, in what might be the East/South China Seas (the seas are not labelled), that are colored in red. Some of these islands extend beyond the equator or the horizontal dividing line in the middle of the map. Why it is important: Here, the idea of Japan in accordance with the “omphalos syndrome,” as the center of the world is depicted (Harley 2001: 66). The red outline differentiates it from the other countries or landmasses. Further, the red color is the same one used to color the “sun,” which reflects Japan’s importance as the land of the rising sun (日本 directly translates as sun’s origin). The project of nationalism is thus, to some extent, portrayed through this map. There is an interesting sense of (Cartesian-influenced?) dualism on this map portrayed with the reflection of the East and West Red Seas. The Red Sea in Asia is reflected in its counterpart in North America, which is presumably the Gulf of Mexico. This trope is also conveyed in the North/South stars, Southwest and Southeast Seas, where the whole map is centered on a compass with cardinal directions represented. Also, the red colors the garb of the picture of figures for the “Women Country” towards the top left of the map. This might have been imported from Ricci’s map, who notes that there is a Land of Women in the Caucasus that puts to death any male if there are too many (a possible reference to the Amazons) (Ricci and Giles 1918: 378). This goes in conjunction with other creatures like dwarves, giants and monocular peoples (which brings to mind Herodotus’ Histories). Nevertheless, it is interesting that red is the primary color for the women as opposed to blue for the monocular figure. Citations: Harley, J. B. The New Nature of Maps: Essays in the History of Cartography. Johns Hopkins paperbacks ed. Baltimore, Md: Johns Hopkins University Press, 2001. Ricci, Matteo, and Lionel Giles. "Translations from the Chinese World Map of Father Ricci." The Geographical Journal 52, no. 6, 367-85. 1918. 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 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 4: Blue (Americas and Africa) 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: Both the Americas and what might be construed as Africa (Libya) are portrayed by the blue layer. This colored layer also includes mountain ranges in Asia and Terra Australis. I am most intrigued by one particular mountain range that seems to be located in a black landmass area in the north, near what is called “Ghost Country.” Blue is also the most frequently used color for the various figures around the map, which includes the garb of the monocular people. Interestingly, it is not the color of the seas/water bodies. It also seems to be the darkest color, other than the black that is overlaid on top. Why it is important: I have commented on the other layers regarding the potential for color hierarchies in illustrating mountain ranges. Here, both the Americas are depicted in a uniform blue, which resembles the African continent. This might be a function of distance, relative to the central Japanese landmass. 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: Surrounding Waters Description An account of the resource This layer includes the water that surrounds the camp and roads. It shows areas where roads intersect this water and allows for crossing through a break in the connection of the channel . This layer highlights how isolated the camp is as the water is on all sides of the camp with a giant patch of space in the middle of the layer. Certain sandbars are shown to be isolated by the water to the top and bottom right of the map . The layer does not give information about water depth or direction of flow. This means that the water is not significant as a mode of transportation, but that it is a barrier to some transportation. The waters to the top and left of the layer are thinner in width compared to the right, so they are most likely a river or stream compared to a pond. The left waters form a loop with a large sandbar of space represented on the layer. The top waters branch from a single point that is a fork in a river. The right fork of the river also connects to the larger body of water on the right side. There is a lot of space in this layer. This is interesting because when looking at the original map, the eye tends to be attracted to the darker areas of water. However, the map is mostly land and thus this layer has some large open spaces. Creator An entity primarily responsible for making the resource Michael H 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 #2: Roads Description An account of the resource This layer shows the layout of roads on the beach. There are 12 distinct roads on the layer. 5 of the roads run from left to right and the other 7 run from bottom to top. There is a single box formed by the intersections of these roads. This signifies that the roads are not used to travel across the area mapped, but rather to get to a specific location and not leave a certain route. The words "Through Route for Unit Traffic" tell that the road is being utilized by some group for transportation in an organized fashion. These words are accompanied by arrows indicating the direction of this travel. The arrows are only shown on latitudinal roads showing that the horizontal component of the roads is more significant than the vertical component. One contrast is that there are two different drawings of roads on the layer. There is no significant pattern to which roads are solid and which ones are dashed. This may indicate the state of the road or show a difference between asphalt and dirt roads. This layer appears to be organized and compact with most space occurring on the edges of the map with some blocks of space segmented by the roads. Four of the roads appear to run into nothingness as they do not connect to any other roads and stop in the middle of a space. Creator An entity primarily responsible for making the resource Michael H 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 #3: Boxed Symbols Description An account of the resource This layer of the map is the most nebulous and simple. It has the 9 large boxes from the center of the map and 1 of the smaller symbols from the upper left portion of the bounded area. These boxes are arranged in a square and have one of three symbols: a funnel, a waning crescent moon, or a silo. I believe that these symbols represent different groups of soldiers. It is most likely that each box represents patrols of a larger unit of the army. So all the funnels are in one unit and likewise for the other symbols. This layer is important because it shows the organization of the camp. The boxes form a grid that fits into the spaces between the roads and fits neatly. The symbol of the wheel up and to the left may represent a location for transportation storage such as a garage. This layer is the simplest of my four and shows the most important aspects of the camp in a broad way. There is a lack of detail about type and number of troops in each section. This layer of the map reinforces the idea that this map is classified as confidential. To understand this map a reader would have to have specialized knowledge of military maps of the United States and recognize certain symbols. Creator An entity primarily responsible for making the resource Michael H 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 #4: Military Info Description An account of the resource This layer of my map contains all of the pertinent military information from the original map. It has a grid system which according to the legend forms 100 x 100 yd boxes. This is useful information for the military group using the map as they want to know travel times for soldiers and vehicles to plan an attack. It also indicates that this map was created by enlarging a preexisting aerial image. This means that the map itself is only a portion of a larger image. This explains the pencil shading and lack of detail. The map does not give a title other than "Beach #3" and offers no information about its location in the world. The only color of the map appears on this layer in the "Beach Perimeter". This red arc is used to show a beach area and the front that the soldiers will most likely approach. The color is significant because it stands out from the map and is clearly important due to the use of color. The layer also includes a partial compass rose which shows the map is not oriented to the North but rather toward the red line. The map was created on 11-28-1944, which makes it a map utilized in WWII. It also has the designation "Top Secret" which implies that it was highly important to some mission that was kept hidden. Creator An entity primarily responsible for making the resource Michael H 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 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 2: Plane and Scale Description An account of the resource After being spatially situated via the perspective of the vantage point featured in layer one, layer two builds on this sense of location and place by introducing scale, and classification of points of interest in both space and text through use of alphanumerically coded districts. Upper case letters in the map space correspond to eight districts labelled in layer two’s index. Printed numbers in the map space likewise correspond to points of interest within these districts which are also enumerated in the layer two index. In the bottom left hand corner of the map, a scale in the archaic Ruthen (not standard, but roughly 15 feet) provides scale, while in the upper right hand corner, latitude and longitude readings situate Berlin more globally. Building on layer one, layer two accomplishes a number of things for the map’s reader. For one, It notably situates the reader globally via latitude and longitude, allowing for spatial comparison and integration with other maps. Use of the scale now enables quantifiable point to point spatial comparison. Additionally, categorization of points through district classification attaches recognizable linguistic meaning to spatial divisions, and imparts a sense of both spatial and linguistic order to what may otherwise seem an overwhelming distribution of points. More crucially, however, many of the features listed in layer two’s index are also featured in layer one’s index. This provides the reader with an easily referenceable link between what is shown pictorially in layer one, and spatially in layer two. Shown as an example are Dorotheen Stadt Kirche (number 27 in layer one and D3 in layer two) and Jerusalems Kirche (22 in layer one E3 in layer two). These churches are shown in layer one’s perspective picture, but now with the help of layer two, both can be situated in the xy plane, quite literally adding a dimension to the comprehension of these places. Their separating distance, and their respective distances from our windmill perspective can now be quantified definitively, endowing the reader with a sense of space entirely different than is offered in layer one. Furthermore, layer two’s index tells the reader that one church is situated in Dorotheen Stadt, and the other in Friderich’s Stadt which could prove useful information for on the ground navigation. Creator An entity primarily responsible for making the resource Ryan Taras 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 3: Center Description An account of the resource The purpose of layers three and four is to build on the functionality established in layers one and two by introducing elements of physical geography, while also showing how the map presents geographical elements in a way which helps to further a narrative of an emphasized center city. Layer three builds on layers one and two by imparting geographical sense to the perspective, measuring tools, and elements of the built urban environment introduced in the first two layers. With two indices, large amounts of text, densely drawn buildings, and a perspective illustration it is easy to get lost in a plethora of “unnatural” or non-geographical information. The lines in layer three which outline three separately districted islands in the river Spree complement the spatially separated (but not explicitly bounded) capital letter markers of layer two by imposing geographical elements to classify and bound these points in representations of real space on the ground. Where before we had a cartesian plane, we now have points bounded by clearly identifiable elements of geography which could be seen on the ground (or in our perspective illustration). In this sense layer three brings the reader into the geographic reality of Berlin. Furthermore, the way the reader is engaged to interact with this defined geographic space begins to further a narrative of an emphasis on this sectionalized center city denoted by index sections A, B, and C (Berlin, Coln, and Federichs Werder). An entire “overflow index” in the map’s top right hand corner is is devoted to naming streets and other features in these three dense inner city districts. This represents a concerted effort on the part of the mapmaker to emphasize the importance of labeling these inner city features by taking up space elsewhere on the page in order to ensure that they are easily referenced. The city center is also shaded uniformly in a darker hue than spaces elsewhere on the map. This uniformity points to segmentation of these three districts within the city at large, and likewise emphasizes centrality of this geographical area. Additionally, the title box in the map’s lower left corner tells us that the city we are looking at is in fact called Berlin. This may seem a pedestrian or inconsequential observation, however, our index in layer two suggests that “Berlin” is just one of eight districts represented. This serves to strongly imply central importance of district A, and by extension of the uniform colorization of B and C, these districts as well. Creator An entity primarily responsible for making the resource Ryan Taras 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 4: Periphery Description An account of the resource Layer four serves to expand upon layer three’s introduction of geographic sense of space, while also complementing and contributing to a developing narrative of inner city centrality. A large number of geographic features and indicators are introduced giving a sense that, relative to the center city, the periphery is defined by these natural features whereas the center is defined by its density (taking the overflow index as a comparative analog). These features include large swaths of map area populated trees colored green along with others which remain uncolored. This simultaneously adds a sense of pastoralism through use of green, along with a lack of spatial cohesion via the seemingly inconsistent use of color in contrast to the uniformly shaded city center. This sense of fragmentation is further exaggerated by the use of pink, and the fact that both of these colors are used over several different districts. This characterizes the periphery as an area which while districted (D,E,F, G, and H), has less definite boundaries than the city center, and is more fluid. To this end it is also worth mentioning that it is impossible to look at layer four and not see, simultaneously, the area that defines layer three by exclusion, adding to this distinct separation between the center and the periphery. Adding to this contrasting pastoral sense are the graded hills which appear in the map’s lower right corner. With this one exception, this hill feature is shown exclusively outside the city’s walls. This further serves to connect districts D, E, F, G, and H with an already defined element of extra-mural space. Likewise, dashes in green colored space give a sense of lush grassland, which stands in contrast to the dense center. The only two arrows indicating river flow are also located at the ends of the map, giving a sense that the importance of natural phenomenon are more peripheral. Open featureless space which takes up large swaths of district F also serve to strongly deemphasize the importance of peripheral space. Potentially most striking, however, is the idea that the relative size of districts D, E, and F to G and H may have informed the map maker’s decision to flip the maps orientation upside down. Flipping the map in this way (accounting for space taken up by the perspective illustration) allows the city center to remain close to the geometric center of the paper. Traditional orientation would have left the city center awkwardly close to the top of the map. As a reasonable explanation for the inverted orientation, this decision would work strongly with other evidence of the maps inclination toward a city center spatial emphasis. The benefit of this geometric centrality comes, in a way, at the expense of much of what seems “natural.” Creator An entity primarily responsible for making the resource Ryan Taras