Map collector David Rumsey—he of the eponymous website and Stanford map center—is the subject of a new documentary directed by Italian filmmaker Andrea Gatopolous. A Stranger Quest premieres at the Torino Film Festival later this month and is scheduled for a 2024 release. The trailer, above, doesn’t reveal much. [Kottke]

The David Rumsey Map Collection has a blog post that explains that they do more than just scan old maps.

When we digitize historical maps we create copies that can be shared and used by all. But we also create the potential to repurpose these copies to advance understanding of the original maps. To do this, we create composite maps, georeferenced maps, composite views, interactive globes, composite texts and other types of digital versions that expand map interpretation and enhance use. Below are some examples of these interpretive maps that we have created over the past 20 years. To date we have created 1,674 interpretive composite maps, views, and texts as well as over 56,000 georeferenced maps.

Examples at the blog post—some of which we’ve already seen, including the digital assembly of Urbano Monte’s 1587 world map (above).

“I call this ‘map heaven,’” said G. Salim Mohammed, the center’s head and curator. “This is a place where maps come alive.”

The San Francisco Chronicle’s piece on the David Rumsey Map Center (paywalled; alternative Apple News+ link) focuses on the digital experiments undertaken by the center to make maps more accessible. (Examples we’ve covered here previously include digitally assembled versions of the Urbano Monte Map and a 1940 model of San Francisco, and also an AR globe app.) [David Rumsey Map Collection]

This theme is of paramount importance, especially as Indigenous peoples around the world continue to fight for their recognition and rights to land and resources. Simultaneously, institutions are increasingly examining their roles in exploitative imperial expansion and settler colonialism. The history of colonial encounter and of indigenous agency can both be glimpsed in historical maps, many of which were made by Indigenous peoples or thanks to crucial, and often unacknowledged, Indigenous contributions. More recently, mapping technologies are helping Indigenous groups to monitor resources, protect language, survey territory, govern, and provide evidence for reclamation and recognition procedures. Scholars, many of them Indigenous, are voicing their critiques and interventions using geographic and cartographic frameworks.

Alex Hidalgo, Mishuana Goeman, and Eric Anderson and Carrie Cornelius will provide keynotes. The conference will run from October 2o to 22, 2021 and is free to attend (virtually). More information; registration form.

A new online exhibition at Stanford Libraries’ Rumsey Map Center: Mapping the Islamic World: The Ottoman, Safavid and Mughal Empires. Curated by guest curator Alexandria Brown-Hejazi, the exhibition, which opened last week, “explores maps of the Islamic World, focusing on the ‘Gunpowder Empires’ of Ottoman Turkey, Safavid Persia, and Mughal India. […] A rich cartographic exchange took place between these three empires and European powers, as maps were used to chart their expansive territories, military campaigns, and trade routes.”

In February 2019 a conference on the blurred line between factual and fictitious mapping in history, Mapping the Global Imaginary, 1500-1900, took place at Stanford University’s David Rumsey Map Center. Which I somehow missed. But no worries: videos of the conference panels are available online (see above for the first one), as is the talk by the keynote speaker, Sumathi Ramaswamy.

For this year’s meeting, all the papers will focus on the relationship between gender, sexuality, and cartography. While some scholars have examined the interplay of gender identities and mapping, particularly with regard to the role of women as buyers and sellers in the historical map market, this work remains isolated and has yet to make a significant impact on the wider field. This conference hopes to offer a counterpoint to this trend by bringing together diverse approaches and hosting interdisciplinary discussions.

The keynote speaker is Susan Schulten. Registration costs $100, or $25 if you’re a student.

A massive wooden model of the city of San Francisco that has not been on display, at least in one piece, since 1942 has been re-assembled as a virtual model by the David Rumsey Map Collection. Built by the WPA, the model was assembled from 158 individual pieces to form a massive, 42×38-foot (12.8×11.6m) model at a scale of 1:1,200, and represented a snapshot of the city as it was in 1940. It’s available as a single composite image, as well as images of individual pieces; a Google Earth layer enables the model to be viewed at an oblique angle and superimposed on modern satellite imagery. Sections of the model itself will be on display at various branches of the San Francisco Public Library as part of Bik Van der Pol’s Take Part project; the exhibits will take place between 25 January and 25 March 2019. [Boing Boing]

Previously: Urbano Monte’s 1587 World Map, Digitally Assembled.

More on Urbano Monte’s 1587 world map, which, you may remember, the Rumsey Collection digitally assembled into a single map from 60 manuscript pages. Now Visionscarto has taken it a step further, with a web tool that reprojects a map into other projections, taking the map’s original polar azimuthal equidistant projection and transmogrifying it into 20 other projections. Yes, sure, the Mercator is one of them, but so are the Goode Homolosine, the Hammer—even the Dymaxion. The tool is available on both the Visioncarto and Rumsey Collection websites. [David Rumsey]

Previously: Urbano Monte’s 1587 World Map, Digitally Assembled; Van Duzer Assesses Urbano Monte’s Work.

To be honest I’m not sold on using augmented reality to view virtual globes. It’s one thing to use AR to superimpose IKEA furniture in your living room: that makes sense, because it helps you visualize where the furniture would go and what it would look like. But it’s hard to see the utility of plunking a virtual globe in your living room: what’s the point of adding your surroundings as a backdrop? Case in point:

It’s neat but not particularly useful, is what I’m saying.

More on Urbano Monte’s 1587 world map, a copy of which the Rumsey Collection acquired last year (see previous entry). Chet Van Duzer presented his findings on the map and the mapmaker at Stanford last month, LiveScience reports. His conclusion? Monte was “both a mastermind and a copycat”—and not a very good artist, either. But the map is still very interesting. [WMS]

In the real world, Urbano Monte’s 1587 map of the world exists as a series of 60 manuscript sheets designed to be assembled into a large world map—one that would be, at 10 feet square, the largest early world map known to exist.¹ As the David Rumsey Map Collection explains, “the whole map was to be stuck on a wooden panel 5 and a half brachia square (about ten feet) so that it could be revolved around a central pivot or pin through the north pole.”

But with only two copies known to exist, that ain’t happening. So what the Rumsey Collection has done, with the copy they recently acquired via Barry Ruderman, is to do it virtually, creating a digital edition of the map as a single image (see above). The digital Monte map was apparently revealed at the Ruderman Conference last October (previously).

The Rumsey Collection’s blog post has lots of images of the individual sheets, and explains how digitizing the map explains Monte’s choice of projection:

Monte wanted to show the entire earth as close as possible to a three-dimensional sphere using a two-dimensional surface. His projection does just that, notwithstanding the distortions around the south pole. Those same distortions exist in the Mercator’s world map, and by their outsized prominence on Monte’s map they gave him a vast area to indulge in all the speculations about Antarctica that proliferated in geographical descriptions in the 16th century. While Mercator’s projection became standard in years to come due to its ability to accurately measure distance and bearing, Monte’s polar projection gave a better view of the relationships of the continents and oceans.

The Mercator version of Monte’s map is here. A Google Earth KMZ file of the map as a digital globe is here. For background on Monte’s map, see the accompanying essay by Katherine Parker, “A Mind at Work” (PDF). For more coverage, see All Over the Map’s blog post.

Previously: Stanford’s David Rumsey Map Center Opens Today; David Rumsey Map Center at Stanford Opens April 19.

The Center’s first exhibition, A Universe of Maps: Opening the David Rumsey Map Center, runs from today until 28 August (here’s the online version).

Previously: David Rumsey Map Center at Stanford Opens April 19.

Update: National Geographic coverage. [WMS]

Here’s a page previewing the Center. Here’s a short video:

Previously: Rumsey Donates Maps to Stanford.