The art of contouring: towards a creative historical geography of contour lines in Britain and Ireland, 1778 - 1860.

这个项目试图创造性地重建1778-1860年间英国和爱尔兰的等高线文化史。该项目将艺术重演的新方法与历史研究的地理学方法相结合，将调查“轮廓”的起源和发展。通过制作模型、地图和其他复制的艺术模式，将富有想象力地重建衡量和表现浮雕的实用、美学和更广泛的文化层面。除了致力于等高线的历史地理学，该项目还将为新兴的地理人文领域做出贡献，并为艺术-地理学的合作开辟新的途径。自19世纪初以来，等高线一直被用来表示英国地图上的地貌。现在，这条线的起源和最终在英国地图上被采用的历史是曲折和有争议的(安德鲁斯1975；西摩1980)。该项目将通过重建对等高线的发明和采用至关重要的几个关键时刻，提供1778-1860年期间等高线的新的、详细的文化史。这项研究的目的是恢复特定地点的文化和技术假设，这些假设决定了地图上等高线的使用和抵制，并将寻求富有想象力地再现指导如何表现地貌的决定的物质挑战和审美判断。在历史学方面，该项目将通过知识的历史地理工作(芬尼根2008年；利文斯通2003年；奈勒2005年)和批判性制图(例如克兰普顿2010年；道奇2017年)的工作，探索等高线的演变。在方法上，该项目将与关于测绘、标记和特定地点的艺术实践的新兴文献(例如，InGold 2007；Hawkins 2014；Parker 2015)合作，重新组合和重新解释与等高线相关的文化和物质实践。借鉴最近在文化和历史地理学方面的创新，将注意如何重现过去的创作实践(Lilley 2000；Lormer 2003；2009；Patchett 2017；Schneider 2011)，包括与测量和图形表示等高线相关的技能。地图、模型和其他相关产品的实物和数字复制将被用来更好地理解等高线作为在两个维度上表现地貌的主要模式的争议性和零碎的出现。受这些概念和方法论关注的启发，该项目将以三个主要研究问题为指导：1.特定地点的文化和科学假设和实践以何种方式影响等高线的开发、设计和采用？2.已建立的制图传统如何挑战或制约地图上等高线的创建、使用和推广？3.哪些美学习俗影响了等高线所传达的相对‘质量’或‘量’？

This project seeks to creatively reconstruct a cultural history of contour lines in Britain and Ireland, 1778 - c. 1860. Combining a novel methodology of artistic re-enactment with a geographical approach to historical research, the project will investigate the inception and development of 'contouring'. The practical, aesthetic and wider cultural dimensions of measuring and representing relief will be imaginatively reconstructed through the production of models, maps and other artistic modes of replication. As well as working towards a historical geography of contouring, the project will contribute to the emerging field of GeoHumanities and open up new avenues for art-geography collaboration. The contour line has been used to represent relief on British maps since the early nineteenth century. Now taken for granted, the history of the line's origins and eventual adoption on British maps was tortuous and contentious (Andrews 1975; Seymour 1980). This project will provide a new, detailed cultural history of the contour line in the period 1778-1860 through reconstructions of several key moments crucial to the invention and adoption of contouring. The research will aim to recover the place-specific cultural and technical assumptions that informed the use of, and resistance to, contours on maps and will seek to imaginatively recreate the material challenges and aesthetic judgements that guided decisions about how to represent relief. In historiographical terms, this project will explore the evolution of contouring in ways informed by work on the historical geographies of knowledge (Finnegan 2008; Livingstone 2003; Naylor 2005) and critical cartography (e.g. Crampton 2010; Dodge 2017). Methodologically, the project will work with an emerging literature on mapping, mark-making and site-specific artistic practice (e.g. Ingold 2007; Hawkins 2014; Parker 2015) to reassemble and re-interpret the cultural and material practices associated with contouring. Drawing on recent innovations in cultural and historical geography, attention will be given to ways of re-enacting past creative practices (Lilley 2000; Lorimer 2003; 2009; Patchett 2017; Schneider 2011), including the skills associated with measuring and graphically representing contours. The physical and digital reproduction of maps, models and other related products will be used to better understand the contested and piecemeal emergence of contours as a primary mode for representing relief in two dimensions.Informed by these conceptual and methodological concerns, the project will be guided by three main research questions: 1. In what ways did place-specific cultural and scientific assumptions and practices influence the development, design and adoption of contours?2. How did established cartographic traditions challenge or check the creation, use and promotion of contour lines on maps? 3. What aesthetic conventions influenced the relative 'qualities' or 'quantities' a contour line was taken to convey?