September 8, morning session
“The database loves me”
Overall idea of the workshop was to bring artists and cartographers together.
The big question was how? The answer: the database. If there was a common set of data that artists and cartographers alike could access and design projects around, then there is a lot of potential to learn from each other.
Laurene Vaughn was quick to set out a ground rule that would set the tone for the workshop “is you throw out an idea, you’re responsible for it.” Participants of the workshop were encouraged to post on the Arts & Cartography blog. She
William Cartwright, the president of the International Cartographic Association, gave a brief history of the ICA and discussed its function as the world authority on cartography. He outlined some of the aims of the association, which include understanding and solving world problems using cartography.
Aaron Baxter, a workshop participant and also a student who helped to create the database gave a presentation entitled “Representing Cartographic Uncertainty.” Aaron mapped out how the database was compiled for participants and revealed what he thought to be its shortcomings. These included variables such as the resolution of the map, because the majority of data came from Stats Can census tracts, which can include areas that are quite large. Another shortcoming according to Aaron was the method used to aggregate and interpolate the data. Indicators were used and weighted –these weights were determined by the class who developed the database based on an article from the World Health Organization.
His question to the workshop participants was how do we uncover uncertainty in maps? One solution he proposed was to use Photoshop to blur the boundaries of a map to represent the uncertainty.
Another solution proposed was to focus on the perception of the map user. But where does this come into play? Topics such as the stimulation of the reptilian part of our brains came up, and non-rational levels of perceptions like the emotional response of the map user.
September 8, evening
“Your gift bag is also a mask in case you are embarrassed to sing in public”
On Wednesday evening workshop participants made their way to St Paul & St. Anthony’s Church armed with gift bags that Maryclare Foa had prepared for the group which included songs, throat lozenges, a “Montreal Driftsong 2010” button and apple juice to avoid parched throats. The group entered into a garden located beside the church, which had high walls that Maryclare had scoped out earlier for the activity.
Maryclare gave a short presentation before the group left the building. She told the class that one of the shortcomings of traditional mapping is that a pen & pencil keep distance between the cartographer and the place they are trying to convey. In her experience, ambient-recorded noises describe the place more than video does which she demonstrated with a video of places and their sounds. Sound conditions a place, is affected by place, and coloured by the material of a place. Furthermore, things sound in duets: sound maps its source and “maps” its path and the material it encounters. This is where the idea of driftsinging came from- imitating and responding to the sounds of a place.
In the church garden Maryclare had a number of activities planned. The group was asked to stand in a circle and mimic ambient sounds one at a time. Then everyone walked to a new location behind Concordia – a parking lot—with new sounds, including a very loud air conditioning unit. Participants were instructed to follow sound as a group, shoulder-to-shoulder three across and four wide. Only one or two participants decided that they needed to wear their masks.
