How can we map stories? A cybercartographic application for narrative cartography
TL;DR: In this article, the authors present a cyber-cartographic application designed to address this issue and provide solutions to help properly map some of the many dimensions of narratives, including the places of the narration (geography), the connection between these places (geometry), as well as the temporal dimension inherent to storytelling.
Abstract: Narratives and places are deeply connected. Places often contribute to the shaping of a story, just as stories contribute to the production of spatial identities. Mapping narratives can thus have a double goal: to explore the geographic structure of a story, and to better understand the impact of stories on the production of places. While it may be easy to locate narratives as points on a map, this type of representation is rarely relevant in capturing and characterising the complex spatio-temporal dimensions of the narratives. In this paper, we present a cyber-cartographic application designed to address this issue and provide solutions to help properly map some of the many dimensions of narratives, including the places of the narration (geography), the connection between these places (geometry), as well as the temporal dimension inherent to storytelling. This application, originally developed to map contemporary Canadian cinematographic narratives (see examples here: http://scaquard.classone-tech.com/),...
Citations
More filters
TL;DR: Four research projects that use different spatio-temporal visualization techniques to understand the industrial dynamics of post-war film exhibition and distribution in Australia are presented.
Abstract: Cinema data is characteristically complex, heterogeneous and interlinked. Rather than relying on simple information retrieval techniques, researchers are increasingly turning to the creative exploration and reapplication of data in order to more fully explore the meaning of newly available and diverse data sets. In this context, the cinema historian becomes the creator of visual texts which can be assessed for both their interpretive insight and their aesthetic qualities. This paper presents four research projects that use different spatio-temporal visualization techniques to understand the industrial dynamics of post-war film exhibition and distribution in Australia. The research integrates work by a group of inter-disciplinary investigators into the effectiveness of techniques such as dendritic mapping, Circos circular visualizations, animation, cartogram mapping, and multivariate visualization for the study of cinema circuits and operations at a number of scales.
7 citations
Cites background from "How can we map stories? A cybercart..."
...…2010; Maltby and Walsh, 2011; Verhoeven and Arrowsmith, 2013; Verhoeven et al., 2009), mapping film diffusion (Verhoeven et al., 2013), and in the analysis of geographical patterns of cinema operation and influence (for example see Caquard, 2009, Caquard and Fiset, 2013; Verhoeven et al. 2009)....
[...]
TL;DR: In this paper, the authors present story-mapping as a research technique that incorporates multiple methods and data sources to build visual narratives of individual and collective experiences, and present a short take on how to apply story mapping techniques to the real world.
Abstract: This short take presents story-mapping as a research technique that incorporates multiple methods and data sources to build visual narratives of individual and collective experiences. The goals of ...
6 citations
Journal Article•
TL;DR: A detailed overview of the creative trajectories on mapping currently explored in carto/geography can be found in this article, where three projects where geographers and GISscientists are at the forefront of the concurrent rethinking of the map as a deforming and multidimensional tool for spatial analysis.
Abstract: Nowadays, new speculative and experimental ferments on analog and digital mapping are variously infusingboth “insiders” (geographers, cartographers, urban planners, GIS scientists) and “outsiders” (Art historiansand creative practitioners)’ work. To properly evidence and discuss the excitement of mapping that isemerging through a wide range of visual and aesthetical contributions, it is important to contextualize andcompare such unconventional practices of map-making in terms of reflexivity and transitivity of geographicknowledge production. This means respectively to distinguish different roles assumed by geographers, cartographersand GIS scientists in the interpretation and application of new theories and practices of mapping,but also to take seriously into consideration the creative mapping culture which is becoming visibleoutside of their discipline, for example in the artistic domain. In this report, I focus on the “reflexive”stance, by giving a personal, thus not exhaustive, overview of the creative trajectories on mapping currentlyexplored in carto/geography. After emplacing the theory and experimentation on maps and geospatial datawithin the context of academic geographic production, I discuss three projects where geographers and GISscientists are at the forefront of the concurrent rethinking of the map as a deforming and multidimensionaltool for spatial analysis.
6 citations
Additional excerpts
...…and Straughan, 2015; Lo Presti, 2016; 2018); affective and emotional (Aitken and Craine, 2006; Kwan, 2007; Nash, 1998); literary, fictional and narrative (Caquard and Fiset, 2014; Luchetta, 2016; Papotti, 2000; Peterle, 2018; Rossetto, 2014); tactile (Rossetto, forthcoming), among many others....
[...]
TL;DR: The MATRICIEL (PEPS CNRS UPE 2016) project as mentioned in this paper is a collection of recits of vie of Republicains espagnols in France between 1936 and 1939, which combine des methodes et outils du traitement automatique des langues and de la cartographie.
Abstract: Le Reseau des acteurs de l’histoire et la memoire de l’immigration (RAHMI) a lance en 2008 un programme experimental de collecte pour recueillir la memoire oubliee de populations immigrees engagees dans la vie de la region. Differents groupes de personnes ont ete vises par cette collecte qui a permis d’enregistrer des recits de vie dont ceux de Republicains espagnols s’etant exiles en France entre 1936 et 1939, et ayant participe a la resistance francaise. Le projet MATRICIEL (PEPS CNRS UPE 2016) s’est interesse a la migration de ces Republicains espagnols sous l’angle des lieux mentionnes dans leurs recits, et des sentiments associes a ces lieux. Le projet visait a placer la parole des migrants au premier plan de l’analyse ; les objets d’etude choisis : les lieux, designes par un nom propre : Barcelone, ou un nom commun : camp d’internement, et les sentiments associes distingues par leur polarite : positive ou negative, contribuent a valoriser les archives orales pour la construction d’une memoire de l’immigration. Il s’agit dans cet article de presenter la demarche mise en place pour une analyse pluridisciplinaire de ce corpus de recits de vie, qui combine des methodes et outils du traitement automatique des langues et de la cartographie. L’identification des lieux noms communs mentionnes dans les recits a ete menee grâce a un modele d’apprentissage supervise. L’identification puis la representation cartographique des lieux noms propres ont mis en evidence la repartition spatiale des parcours de vie des temoins, determines par le contexte historique et les choix personnels. L’annotation semi-automatique en sentiments ajoute une polarite aux recits. En perspective, l’analyse des types de lieux noms communs permettra d’evaluer la granularite utilisee par les temoins pour decrire les espaces vecus, et leur localisation contribuera a preciser la spatialite des recits.
5 citations
01 Jan 2014
TL;DR: In this article, a spatial typology of cinematographic narratives using a cybercartographic application has been developed to map the narrative structure of 46 contemporary Canadian films, characterized by the locations of the action, the movement between these locations, and the different places mentioned in these films.
Abstract: The research presented in this chapter aims to initiate the development of a spatial typology of cinematographic narratives, using a cybercartographic application. This application has been developed to map the narrative structure of 46 contemporary Canadian films. The spatial dimensions of these narrative structures were characterized by the locations of the action, the movement between these locations, and the different places mentioned in these films. Throughout the process of mapping and analysing these criteria, some recurrent narrative forms were identified, as well as some connections between certain cinematographic genres (such as documentaries) and complex spatial narrative structures. Based on these results, an initial spatial typology of cinematographic narratives is proposed.
4 citations
References
More filters
Book•
01 Jan 1992
764 citations
"How can we map stories? A cybercart..." refers background in this paper
...The airport – which is considered as an archetypical ‘non-place’ by Marc Augé (1992) – becomes the point of contact of multiple collective and personal destinies....
[...]
...The airport – which is considered as an archetypical ‘non-place’ by Marc Augé (1992) – becomes the point of contact of multiple collective and personal destinies....
[...]
Book•
01 Jan 1998
TL;DR: Moretti as mentioned in this paper explored the fictionalization of geography in the nineteenth-century novel and found that space may well be the secret protagonist of cultural history, in a series of one hundred maps, alongside Spanish picaresque novels, African colonial romances and Russian novels of ideas.
Abstract: In a series of one hundred maps, Franco Moretti explores the fictionalization of geography in the nineteenth-century novel. Balzac's Paris, Dickens's London and Scott's Scottish Lowlands are mapped, alongside the territories of Spanish picaresque novels, African colonial romances and Russian novels of ideas, in a path-breaking study which suggests that space may well be the secret protagonist of cultural history.
305 citations
01 Jan 1993
260 citations
TL;DR: In this paper, the authors focus on the growing interest in the relationship between maps, narratives and meta-narratives and explore their current state in the Geoweb era.
Abstract: This report focuses on the growing interest in the relationship between maps, narratives and meta-narratives. Following a brief historical contextualization of these relationships, this report explores their current state in the Geoweb era. Using the distinction between story maps and grid maps as an analytical framework, I review emerging issues around the extensive use of technologies and online mapping services (i.e. Google maps) to convey stories and to produce new ones. Drawing on literature in film studies, literary studies, visual arts, computer science and communication I also emphasize the emergence of new forms of spatial expressions interested in providing different perspectives about places and about stories associated to places. In sum, I argue that mapping both vernacular knowledge and fiction is central understanding places in depth.
170 citations
"How can we map stories? A cybercart..." refers background in this paper
...…to use online locational services such as Google Maps to pinpoint the geographic location of film shooting (see for instance http://www.themoviemap.com), these representations are rarely appropriate to capturing and characterising the complex spatiotemporal dimensions of narratives (Caquard, 2013)....
[...]
01 Jan 2016
138 citations
"How can we map stories? A cybercart..." refers background in this paper
...In more general terms, mapping narratives can also help to reveal the geographic structure of stories as argued by literary scholar Franco Moretti (1999)....
[...]
...As pointed out by Franco Moretti (2005), there is a distinction in novels between geography (location) and geometry (relationships)....
[...]