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

该项目旨在创造性地重建英国和爱尔兰1778 - c的轮廓线文化史。1860.该项目将结合艺术再现的新方法和历史研究的地理方法，研究“轮廓”的起源和发展。将通过制作模型、地图和其他艺术复制模式，以创新的方式重建测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之外，该项目还将为地理人文学的新兴领域做出贡献，并为艺术地理学合作开辟新的途径。自世纪初以来，等高线一直被用来表示英国地图上的地形。现在被认为是理所当然的，这条线的起源和最终在英国地图上的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发明和采用轮廓线至关重要的几个关键时刻，提供1778-1860年期间轮廓线的新的详细文化历史。这项研究的目的是恢复特定地点的文化和技术假设，这些假设为地图上的等高线的使用和抵制提供了信息，并将寻求创造性地重新创造材料挑战和美学判断，这些挑战和判断指导了关于如何表示浮雕的决定。在历史学方面，该项目将探索轮廓的演变，其方式来自知识的历史地理学（Finnegan 2008; Livingstone 2003; Naylor 2005）和批判性制图学（例如Crampton 2010; Dodge 2017）。从方法上讲，该项目将与新兴的地图，标记制作和特定地点的艺术实践文献（例如Ingold 2007; Hawkins 2014;帕克2015）合作，重新组装和重新解释与轮廓相关的文化和物质实践。利用文化和历史地理学的最新创新，将注意重新制定过去的创造性实践的方式（Lilley 2000; Lorimer 2003; 2009; Patchett 2017; Schneider 2011），包括与测量和图形化表示轮廓相关的技能。地图、模型和其他相关产品的物理和数字复制将被用于更好地理解轮廓作为二维地貌表现的主要模式的争议和零碎出现。特定地点的文化和科学假设和做法以何种方式影响等高线的制定、设计和采用？2.既定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？3.什么美学惯例影响了轮廓线所要传达的相对“质”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?