“There is also a considerable tendency to define the subject as a kind of meeting place of science and art. This is exemplified by Eckert. He pleads for artistic imagination and intuition in cartographic portrayal and claims that the inter-action of such talents with scientific geography produces the aesthetic map. There is no question about the importance of imagination and new ideas, but it is equally important that significant processes be objectively investigated, whether it be the visual consumption of a graphic technique or a process in geomorphology. It can perhaps best be approached by a comparison of the aims, techniques involved, and the results accomplished by each activity”

—  Arthur H. Robinson

Source: The Look of Maps (1952), p. 17; as cited in: Kirk Patrick Goldsberry (2007) Real-time Traffic Maps. p. 23-24

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Arthur H. Robinson18
American geographer 1915–2004

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“The assumption that effective cartographic technique and its evaluation is based in part on some subjective artistic or aesthetic sense on the part of the cartographer and map reader is somewhat disconcerting. For example, E. Raisz claims that the “effective use of lines or colors requires artistic judgment,” and J. K. Wright explains that the suitability of a symbol “depends on the map maker's taste and sense of harmony.” Throughout the literature there are numerous similar assertions regarding the assumed subjective aesthetic and artistic content of cartography.”

Arthur H. Robinson (1915–2004) American geographer

Source: The Look of Maps (1952), p. 16; as cited in: Kirk Patrick Goldsberry (2007) Real-time Traffic Maps. p. 23

“A new view of the role of art and science in cartography is clearly needed. It is probably a mistake to view maps as objects that contain varied amounts of scientific or artistic content for which we must determine an appropriate balance (as both Keates, 1984, and Robinson, 1952, seem to, with Keates arguing for more art and Robinson for more science). Instead, it makes more sense to consider complementary artistic and scientific approaches to studying and improving maps, both of which can be applied to any given cartographic problem. The artistic approach is intuitive and holistic, achieving improvements through experience supplemented by critical examination (where critical examination implies expert appraisal of the results of our cartographic decision-making efforts). It draws on science in using perspective, understanding of human vision, color theory, and so on.”

Alan MacEachren (1952) American geographer

Source: How Maps Work: Representation, Visualization, and Design (1995), p. 9

“So important, indeed, is the use of maps in geographic work, that, without wishing to propose any new law, it seems fair to suggest to the geographer a ready rule of thumb to test the geographic quality of any study he is making: if his problem cannot be studied fundamentally by maps - usually by a comparison of several maps - then it is questionable whether or not it is within the field of geography.”

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“In conceptual art the idea or the concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive; it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman.”

Sol LeWitt (1928–2007) American artist

Source: Quotes of Sol Lewitt, "Paragraphs on Conceptual Art," 1967, p. 80. Cited in: Diane Waldman. Carl Andre https://archive.org/stream/carlandre00wald#page/7/mode/1up. Published 1970 by Solomon R. Guggenheim Museum in New York. p. 7

“Use of the term visualization in the cartographic literature can be traced back at least four decades (Philbrick, 1953). It was the 1987 publication of a report by the U. S. National Science Foundation, however, that established a new meaning for this term in the context of scientific research (McCormick et al., 1987). The report, produced by a committee containing no cartographers, emphasized the role of computer display technology in prompting mental visualization - and subsequent insight. Scientific visualization has, thus, been defined as the use of sophisticated computing technology to create visual displays, the goal of which is to facilitate thinking and problem solving. Emphasis is not on storing knowledge but on knowledge construction.”

Alan MacEachren (1952) American geographer

Source: Exploratory cartographic visualization: advancing the agenda (1997), p. 2

Wallace Stevens photo

“The operation of the imagination in life is more significant than its operation in or in relation to works of art… in life what is important is the truth as it is, while in arts and letters what is important is truth as we see it.”

Wallace Stevens (1879–1955) American poet

The Necessary Angel (1951), Imagination as Value

“The art of Biography
Is different from Geography.
Geography is about maps,
But Biography is about chaps.”

Edmund Clerihew Bentley (1875–1956) British writer

Clerihews: Biography for Beginners (1905)

R. G. Collingwood photo

“One of Collingwood's earliest attempts to define the aesthetic essence of art. His aim, he writes in the preface, is to state a general conception of art and develop its consequences. His conception is one already familiar through the writings of others -- "that art is as bottom neither more nor less than imagination" -- but from his observation he goes on to outline the various distinctions between subordinate conceptions of art, and to attempt to demonstrate their place in the general conception, and the place of both in life. He urges that the meaningfulness of art cannot be torn from the imaginative setting in which it is embedded, and that we must attempt to explain the process by which an artist reaches a particular point of view on reality.”

R. G. Collingwood (1889–1943) British historian and philosopher

Abstract
Outlines of a Philosophy of Art, 1925

“Robinson (1952) pointed out some limits to approaching map symbolization and design from a purely artistic viewpoint, as he suggested was the guiding perspective at the time. Maps, like buildings that are designed primarily for artistic impact, are often not functional… Robinson (1952) argued that treating maps as art can lead to "arbitrary and capricious" decisions. He saw only two alternatives: either standardize everything so that no confusion can result about the meaning of symbols, or study and analyze characteristics of perception as they apply to maps so that symbolization and design decisions can be based on "objective" rules… Robinson's dissertation, then, signaled the beginning of a more objective approach to map symbolization and design based on testing the effectiveness of alternatives, an approach that followed the positivist model of physical science. In his dissertation, Robinson cited several aspects of cartographic method for which he felt more objective guidelines were required (e. g., lettering, color, and map design). He also suggested that this objective look at cartographic methods should begin by considering the limitations of human perception. One goal he proposed was identification of the "least practical differences" in map symbols”

Alan MacEachren (1952) American geographer

e.g., the smallest difference in lettering size that would be noticeable to most readers
Source: How Maps Work: Representation, Visualization, and Design (1995), p. 2-3

Guity Novin photo

“In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.”

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Source: Ayandegan (1973), p. 4

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