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                <text>Layer 4: Land Plots</text>
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                <text>This layer came about as a result of necessity. I originally wanted to create a layer that depicts the streets of the city, but realized that the streets themselves are not outlined; rather, they appear as negative space between the outlines of enclosed living compounds and plots of land. I chose to isolate the plots of land, both enclosed and non-enclosed,  in a separate layer. What these spaces have in common is their demarcation with small images of trees and short horizontal lines, as opposed to urban spaces that were left untextured. Some of these land territories were colored in green, while others were colored in pink or left uncolored. I reproduced the colors as well for their visual appeal; however, the colors might belong in a separate layer because they appear to suggest different neighborhoods or another division of territory. Indeed, the map appears to divide the city into different neighborhoods that are marked with the letters A-H, but the neighborhoods themselves are not set off in different colors, leaving the role of the colors a mystery. </text>
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                <text>Olga Kuzmina</text>
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            <description>A name given to the resource</description>
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                <text>Layer 4: Logistics operations&#13;
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                <text>I believe that this map’s purpose is to depict logistics operations, specifically unit resupply, as U.S. Army land forces came ashore on this Philippine island.  As the units moved from the beach, they were directed into one of six un-improved roads, leading into three logistics areas.  There, they were resupplied with ammunition, rations, and fuel. The carefully drawn arrows point the direction the units were to take, with the eventual movement into the interior.  I have no idea if this was by design, but the map seems very ominous.  The road south, into the island, is unfinished and the coloring of the map could be described as gloomy.  Finally, the stark red line, with triangles and text reading “Beach Perimeter” denote a definite separation between logistics and the likely combat faced by the follow-on forces. </text>
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                <text>Layer 4: Map Outline</text>
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                <text>This layer only includes the outline and lines found on the map. I viewed this layer a skeleton of the map, representing the geometric theme used for forms that are not landmasses or illustrations. I placed this as the fourth layer so that it physically and visibly serves as a foundation for the other layers of the map.</text>
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                <text>Esther</text>
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                <text>Layer 4: Military Administrative Details - Security Classification &amp; Reference Info</text>
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                <text>This layer contains the security classification level of the map, as well as the name of the location, date the map was created, and information on who prepared it. The latter three items serve as important reference points for the map reader(s), who would need to: (1) distinguish beach #3 from other military beach sites in close proximity, (2) know how far in advance/up-to-date the map was created prior to the planned Lingayen Gulf landing, particularly if dates for the landing were to change, and (3) know who to contact with questions or hold accountable if an unfortunate situation were to play out based on the information provided through this map.&#13;
&#13;
The ‘Top Secret’ security classification is particularly important because it indicates that only a select few have the authorization to read the map and how they should treat the information contained in it. More specifically, the contents of the map are of such importance that unauthorized disclosure of the information could cause damage to U.S. national security. Without yet scrutinizing the rest of the map, the reader(s) would immediately know that its contents carry significant weight. Visually, it contains the largest written font and is the only information that exists outside of the map’s grid lines, again suggesting its importance.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Joa Alexander</text>
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                <text>Layer 4: Periphery</text>
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                <text>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.”&#13;
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Ryan Taras</text>
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                <text>Layer 4: Symbols and Markings</text>
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                <text>In some ways, this layer is least important visually, but it also holds a key to my map's purpose and the interesting way that it blends genres. This layer contains a couple of graphic design elements—compass rose and arrows indicating the river direction—that are clearly somewhat derived from navigation but here seem to be more decorative; and a series of large bold letters scattered throughout the city that correspond to a key in an upper panel describing points of interest on the map. These elements are interesting to me for several reasons. First of all, I think they nicely blend decorative and informative goals, adding a distinct element of design to the map while still maintaining a function. Second, they reinforce the map's status as a map for tourists, or those interested in Berlin, or, put more broadly, a map that belies pride in a well-fortified, green city full of points of interest. All of that being said, I have to be careful not to jump to too many conclusions drawn from this layer, because the text remains unreadable to me. One note is that in this larger image, it is easy to see the lower lithograph and the map itself as too distinct, discreet elements without overlapping design or purpose. But this layer shows that that is a mistake—the inclusion of letters and a descriptive key provides a design bridge between the halves, as it is employed as an informative strategy by both; and it suggest a unity of purpose for the entire image that is simply approached in two different mediums or genres of drawing.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Emma Talkoff</text>
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                <text>Layer 4: Time&#13;
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                <text>This map not only serves as a spatial frame of reference, but also as a temporal frame of reference. The ecliptic, showing the path that the sun follows over the course of a year, is annotated with zodiac symbols and days of the month. Additionally, zodiac references, grouped by season are placed into each of the four corners, combining artistry and practicality to this map’s take on time. &#13;
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                <text>Matthew Goodman</text>
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                <text>Layer 4: Zodiac Glyphs</text>
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                <text>The final layer of the map I included was the interpretations of the zodiac glyphs that surround the spheres. The twelve signs of the zodiac are divided among the four corners of the map. The upper left features Aries (the ram), Taurus (the bull), and Gemini (the twins) while the upper right includes Leo (the lion), Virgo (the maiden), and Cancer (the crab). The lower left includes Sagittarius (the archer), Libra (the scales), and Scorpio (the scorpion) while the lower right depicts Aquarius (water bearer), Capricorn (the goat), and Pisces (fish). They are intended to represent the sky which surrounds the Earth, and serve to adorn the map along with biblical imagery. The glyphs not only serve to fill what would otherwise be a literal empty void, but expand the map’s purpose to include decoration as well as pragmatism. Art could certainly incentivize people to buy the map–helping to disseminate its contents and in turn, share its arguments with a greater audience.</text>
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                <text>Reade Rossman</text>
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                <text>Logistics Dumps, Beach Causeway, Men Unloading </text>
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                  <text>Spatial Histories</text>
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                  <text>What do spatial histories look like? Here is a gallery of images that advance and enrich the histories laid out in &lt;a href="http://hist1952-17.omeka.fas.harvard.edu/exhibits/show/mobility" target="_self"&gt;these student projects&lt;/a&gt;.</text>
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                <text>Manchukuo: Imperium in Imperio</text>
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                <text>Ryan Taras</text>
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