Critical Cartography

La rappresentazione cartografica ha negli ultimi anni attratto attenzioni crescenti e diversificate che vanno inquadrate nel rinnovato interesse che le scienze sociali hanno rivolto alla spazialità e alla visualità. I geografi sono stati, ovviamente, tra i protagonisti di questa profonda operazione di revisione epistemologica. Nel ripensarne i fondamenti sono stati guidati, in particolare, dalla felice collocazione della carta all’incrocio strategico tra il piano della realtà geografica e quello dell’immaginario spaziale. L’articolo si interroga sul ruolo della carta geografica nel rapporto tra questi due piani, sulle forme di potere che essa subisce e su quelle che esercita. Lo fa a partire da una vicenda storica tratta dall’Italia fascista che non era mai emersa in precedenza: la rappresentazione dei confini dell’Etiopia, progressivamente eliminati dai prodotti cartografici ben prima della conquista italiana. Le categorie analitiche da cui muove la riflessione sono tratte dal pens...

https://press.uchicago.edu/ucp/books/book/chicago/M/bo17703325.html

Hundreds of exceptional cartographic images are scattered throughout medieval and early modern Arabic, Persian, and Turkish manuscript collections. The plethora of copies created around the Islamic world over the course of eight centuries testifies to the enduring importance of these medieval visions for the Muslim cartographic imagination. With Medieval Islamic Maps, historian Karen C. Pinto brings us the first in-depth exploration of medieval Islamic cartography from the mid-tenth to the nineteenth century.

Pinto focuses on the distinct tradition of maps known collectively as the Book of Roads and Kingdoms (Kitab al-Masalik wa al-Mamalik, or KMMS), examining them from three distinct angles—iconography, context, and patronage. She untangles the history of the KMMS maps, traces their inception and evolution, and analyzes them to reveal the identities of their creators, painters, and patrons, as well as the vivid realities of the social and physical world they depicted.  In doing so, Pinto develops innovative techniques for approaching the visual record of Islamic history, explores how medieval Muslims perceived themselves and their world, and brings Middle Eastern maps into the forefront of the study of the history of cartography.

In attempting to identify what might be called a "colonial ethnography" in German South West Africa, we are confronted by the fact that the brief period of colonization (1884-1915) produced a meager collection of "field" studies.  If there was such a thing as a colonial ethnography in German South West Africa, it was produced as a kind of ethnographic spin-off of other activities more directly associated with colonialism: commercially motivated exploration, farming, missionary and military activity. The "ethnography" or "ethnographies" I refer to in this paper may be called casual, diverse and amateur. Casual, because they were more often than not intended as addenda or secondary information within a non-ethnological primary context; diverse, because the contexts themselves were widespread and non-uniform; and amateur, because the producers of ethnographic statements were only in exceptional cases professional anthropologists or ethnologists. In South West Africa and Namibia, the goals of colonial territorial management have traditionally been formulated in anthropogeographic terms, and it is in these terms that its successes and failures reveal themselves most plainly. This becomes evident if we glance at what the ethnographic map of Ovamboland has become today. Where it attempts to show the spatial distribution of "tribal" or "ethnic" groups, its broad contours coincide with the administrative boundaries which were established by the colonial regime, then rigidified by the application of Apartheid population management during the years of the South African Mandate. In this way, the representational legacy of Ovamboland's "ethnographers" has proved its affiliation with colonial and postcolonial administration.

В работе указывается на необходимость изучении предыстории Цифровой Земли, приводятся примеры предвосхищения географических продуктов со свойствами, явно отличающими их от карт и явно указывающими на свойства будущей Цифровой Земли.
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The paper points to the need to study the prehistory of the Digital Earth, provides examples of anticipating geographical products with properties that clearly distinguish them from maps and clearly indicate the properties of the future Digital Earth.

Engravings Depicting the Polotsk Campaign in 1579 as a Homogeneous Cartographic Composition Th e paper presents seven plans of fortresses (Polotsk, Sokil, Kazyany, Krasne, Turovla, Susza and Sitno) and a map of the principality of Polotsk by Stanisław Pachołowiecki. Th e analysis indicates that plans of fortifi cations and hydrogeologic conditions were integrated into a previously existing operational map of the principality of Polotsk. Th erefore, eight printed maps and plans constitute a joint work that was uniformly fi nished by one author (Stanisław Pachołowiecki or Giovanni Battista Cavalieri). Th e map of the principality of Polotsk features Russian fortifi ca-tions in the form of two-dimensional projections. Th e strongholds were depicted in a reliable manner, both in terms of shape and the number of towers. Such a representation of settlement symbols was an innovative solution in Renaissance carto g-raphy. Not until the 17 th century were such means known and they did not appear on a broader scale until the 1730s.

Publicación actualizada de Mapas, metáforas y silencios en la revista Párrafos Geograficos Nro 18-1, 2019.
Resumen: Los mapas han estado tanto tiempo entre nosotros que, como otras metáforas y representaciones, se han constituido en modelos "estables" y "naturales" mediante los cuales interpretamos el mundo real. En el presente trabajo realizamos un análisis del que hemos denominado "Planisferio Rivadavia", una representación que resulta en un objeto complejo, opaco y naturalizado. Para tal fin retomamos la perspectiva propuesta por J.B. Harley para identificar una serie de silencios políticos presentes en dicha obra, así como también los aportes de G. Lakoff y M. Johnson en cuanto a la utilización de metáforas como instrumentos que permiten estructurar conceptos a partir de otros. Ambas perspectivas nos permitirán dar cuenta de cómo tanto silencios como metáforas inciden sobre nuestra forma de conceptualizar y pensar el mundo en que vivimos, a la vez que se encuentran "activas" y dando soporte a un proceso de estabilización de una imagen "normal" del mundo. Palabras clave: Cartografía crítica-Imagen normal del mundo-Proyección Mercator

MAPS, METAPHORS AND SILENCES Abstract Maps have been so long among us that, who like other metaphors and representations have become "stable" and "natural" models by which we interpret the real world. In this paper, we perform an analysis of what we have called "Planisferio Rivadavia" a representation resulting in a complex, opaque and naturalized object. For this purpose, we consider the perspective proposed by J.B. Harley to identify a series of political silences present in this work, as well as the contributions of G. Lakoff and M. Johnson regarding the use of metaphors as instruments to structure concepts from others. Both perspectives allow us to account for how much silence as metaphors affect our way of conceptualizing and thinking about the world in which we live, while they are "active" and supporting a process of stabilization for "normal" image of the world.

Cartography’s role as an instrument of conquest and its relationship to power has been widely studied in recent years. With this article, I do not seek to expand on that criticism nor to suggest any improvement of said forms of representation in order to reveal hitherto suppressed realities. My interest is, instead, directed towards the latent power of those things ignored and thus silenced by cartographic overexposure. My intention is not to reinstate those dimensions to the regime of the visible through their representation, but rather to understand how they tell us about another kind of orientational system —of maps perceived, but not drawn, capable of making a reality present without necessarily making it visible.

This article moves beyond the textuality of the map to focus on the way in which mobile mapping is constructed discursively, semiotically, and experientially. It centers on the autoethnographic and reflective experience of the researcher analyzing video and Global Positioning System (GPS) recordings of walking interviews, during which the interviewees conversed about, and engaged in, mobile mapping practices. This reductive process can be considered in light of its re-presentation to the researcher for analytical purposes—a ghostly abstraction of a past spatial experience. The article considers the manifold hauntings stirred in the process of abstraction and the creation of multiple layers of experience: that of the firsthand experience of the walking interview and that of the secondhand analysis of the video and geocoded data. The discrepancy between firsthand movement and secondhand analysis underscores questions about the relationship between mobile maps, representation, and movement and about those epistemologies and ontologies that haunt the interstices between individual records.

An event within the framework of the International Map Year 2015-2016, shown at the Zentralbibliothek Zürich in Januar 2016.

Shown examples of early School Maps from the 19th Century, the first National School Wall Map 1901/02, the influence of Eduard Imhof on the representation of Relief Mapping in the School Map Cartography and recent projects at Orell Füssli Kartographie AG.
Also on my concerns that under the influence of GIS Systems, free available low quality Maps and lack of knowledge of young decision makers the Swiss Cartography is on the decline, best represented in the new maps 1:25'000 from the Federal Office of Topography swisstopo.

Los datos geoespaciales cobran cada día mayor relevancia en la discusión de la agenda pública, ya sea por contextos como la lucha contra la pandemia por el SARS-Cov2 (COVID19), como por la lucha por la defensa de los territorios, los recursos naturales, la visibilización de las luchas feministas alrededor del mundo.

Esta investigación busca desarrollar un análisis sobre la producción, consumo y reproducción de datos geoespaciales desde una lectura y reflexión ética y feminista a partir de una revisión en la evolución de las discusiones desde la geografía crítica, la ética feminista y la cartografía colaborativa.

El objetivo de esta investigación es contribuir a la discusión sobre la evolución y nuevas formas de leer la disciplina geográfica en clave feminista y colaborativa; los alcances, impacto y repercusiones que tienen las visualizaciones geográficas en las personas, espacios y fenómenos que son representados. A partir de estas discusiones se generaron una serie de recomendaciones de prácticas de mapeo ético conjunto a las reflexiones feministas que acompañan cada dimensión del proceso.

This article examines Olivier Rolin's use of stream of consciousness narration in L'invention du monde (1993). It draws upon philosophers Peter Sloterdijk and Paul Virilio to propose that the novel—with its obsessions for information, technology, and space—depicts a crossroads of subjectivity. At that crossroads, natural and computational connotations of "stream" collide, fueling the novel's central crisis. The misadventures of Rolin's postmodern, post-industrial, satellite-inspired Phileas Fogg reveal a central conundrum of accelerated globalization: namely, that the informational and technological mastery of our world comes at the price of sacrificing the ability to meaningfully position oneself within it.

L’appel à communication de la Journée jeunes chercheurs du laboratoire MIGRINTER de juin 2014 m’a donné l’occasion d’élaborer un poster scientifique afin de présenter une synthèse des résultats préliminaires de ma recherche en thèse, tout en ménageant lisibilité et esthétique qui sont les règles de ce type d’exercice. Il m’a aussi permis de clarifier mon positionnement, tant pour ce qui concerne ma discipline (la géographie
sociale et politique) que du point de vue méthodologique et technique : il s’agissait de penser « en grand », pour un format de quatre-vingt centimètres sur cent, tout en donnant la priorité à une présentation visuelle des données.

Density-equalizing cartograms in the Euclidian plane are the usual cartographic solution for the discrepancy between the topographic nature of the GIS map, reflecting the extent of land surfaces, and the demographic nature of a vote, pertaining to the number of voters expressing a given political choice. Cartograms adapt map polygon areas to population sizes. Contemporary mapping technologies allow a different approach by giving access to interactive models in which the third dimension of space can be used to reflect a demographic variable while leaving the topographic base-map intact. This offers an answer to concerns about cartogram readability by the general public. Examples from Austrian election and Swiss referendum results are given to illustrate our approach.

Lo digital como campo etnográfico. Felipe Palma I. Escuela de Antropología UC 2020 Dada la coyuntura del encierro pandémico y el claustro bio-político al que, por razones de salud pública nos vemos forzados, el único espacio de relación con el exterior es el de la red y sus materialidades digitales. Es este entonces, el campo al que dirigiremos nuestra atención antropológica, explorando las posibilidades de una etnografía digital. ¿Cómo abordar el estudio etnográfico en el ámbito de lo digital? Aquí me gustaría proponer una imagen sencilla que nos permita acercarnos a esta pregunta, basada en una categorización de los mundos posibles que podrían emerger de este tipo de etnografías. 1. Data (archivos) La red es un acopio incesante de archivos digitales, sobre prácticamente cualquier tema que se imagine. Una etnografía digital podría, entonces, trabajar con archivos digitales, ya sean colecciones oficiales o elementos dispersos en la red. Para el contexto de este curso, los archivos disponibles se verán restringidos a imágenes, sonidos y videos enmarcados dentro de la temática propuesta. A partir de este eje curatorial, se deberán recolectar, almacenar, clasificar y combinar (H. Becker) una serie de materiales de archivo digital, los que funcionarán como data etnográfica para la producción de una pieza audiovisual.

Digital social data are now practically ubiquitous, with increasingly large and interconnected databases leading researchers, politicians, and the private sector to focus on how such ‘big data’ can allow potentially unprecedented insights into our world. This paper investigates Twitter activity in the wake of Hurricane Sandy in order to demonstrate the complex relationship between the material world and its digital representations. Through documenting the various spatial patterns of Sandy-related tweeting both within the New York metropolitan region and across the United States, we make a series of broader conceptual and methodological interventions into the nascent geographic literature on big data. Rather than focus on how these massive databases are causing necessary and irreversible shifts in the ways that knowledge is produced, we instead find it more productive to ask how small subsets of big data, especially georeferenced social media information scraped from the internet, can reveal the geographies of a range of social processes and practices. Utilizing both qualitative and quantitative methods, we can uncover broad spatial patterns within this data, as well as understand how this data reflects the lived experiences of the people creating it. We also seek to fill a conceptual lacuna in studies of user-generated geographic information, which have often avoided any explicit theorizing of sociospatial relations, by employing Jessop et al’s TPSN framework. Through these interventions, we demonstrate that any analysis of user-generated geographic information must take into account the existence of more complex spatialities than the relatively simple spatial ontology implied by latitude and longitude coordinates.

This paper was published was first published online in SOA in 2005. There is a separate file for the illustrations, also included here.  See "Illustrations for Mapping Taipei."  This chapter was substantially rewritten and reduced for chapter  1 of Taipei: City of Displacements (UWP, Seattle, 2012).

El uso del mapa como expresión del poder hegemónico, la configuración arbitraria del territorio en función de los intereses políticos, así como la exclusión y la invisibilización de temas sociales relativos al habitar la ciudad, han hecho urgente la necesidad de pensar en la cartografía ya no como una técnica de representación exclusiva del territorio físico, sino como un instrumento ideológico que configura el espacio a partir de la experiencia subjetiva o sensible.

(il video riguarda l'intera terza sessione dell'Ottavo seminario "Dalla mappa al GIS" coordinata da Paola Pressenda; il mio intervento va da 1:23:00 a 1:47:30)

Negli anni della prima guerra mondiale la produzione cartografica in Italia fu particolarmente abbondante, grazie soprattutto alla frenetica attività di alcune piccole case editrici e di associazioni sorte per condurre attività a favore della causa interventista. La cartografia risultava un idoneo strumento di promozione del discorso nazional-patriottico in quanto sfruttava il fatto che quella guerra esaltava due caratteri dello Stato moderno ben espressi attraverso le carte: 1) lo Stato è un soggetto politico a base territoriale (e durante una guerra si combatte per acquisire o non perdere territori) 2) lo Stato si fonda sull’esistenza della nazione, che possiede un preciso radicamento geografico (il principio per il quale si combatte è la difesa della nazione). Il «Sacro suolo» fu dunque un simbolo della retorica di propaganda con la sua mistica della guerra e la carta geografica ne permetteva una diretta e ben comprensibile visualizzazione.
Anche se la carta geografica è per sua stessa natura rivestita di significati politici in quanto riflette una specifica visione del territorio prodotta da uno specifico assetto socio-politico, è solo in quegli anni che essa assunse per la prima volta una dimensione autenticamente pubblica prendendo parte a quel fenomeno di politicizzazione dei cittadini che è tuttora il principale tratto distintivo della vita politica delle società contemporanee.
L’intervento al seminario intende esplorare l’uso che si fece della cartografia come strumento di comunicazione politica nell’Italia della Grande Guerra. L’analisi delle sue logiche e delle sue implicazioni servirà a mettere in luce i meccanismi della costruzione dell’identità nazionale in un ambito tematico finora poco indagato.

Parole-chiave: cartografia, interventismo, nazione, irredentismo, nazionalismo, propaganda

This paper focuses on the urban graffiti painted with a political message by different
movements of the Italian political radicalism in the cities of Rome, Florence, Massa,
Carrara, Verona and Udine. For the purpose of this article, during the period from June
2011 to June 2012, a total of 165 graffiti have been photographed, of which 83 painted by
neo-fascist groups, 72 by extreme left groups and 10 by anarchist groups. These three
macro communities, made of different subgroups, emerged as the most active in expressing
their antagonism towards the parliamentary parties with their graffiti that combine semantic
(words) and semiotic (images) elements. An analysis of the collected graffiti’s language
form, meaning and context allows for the identification of the variety of styles of
communication adopted by the different political antagonisms and the different contents of
their communication through graffiti as well as the key elements of their political identities.
Key words: political radicalism, graffiti, linguistics

The study of the canals in the Parma region reveals a specific link with the rules governing representation.
This is due to the way in wich the survey’s techical traits are reflected in the shape of the landscape, wich represents the foremost documentation attesting to its history.
Large-scale plans with different geometric layouts have allowed us to identify three separate phases.
There is no graphic documentation of the works carried out by the Romans and during the Middle Age. It is the landscape itself that testifys to these sources: the signs of the water arrengement let us see the landscape projects that bear witness to the carefully controlled execution of hydraulic rearrangements.
The third one, carried out after the Duchy was created can be assessed using the cartographic collection in the Parma State Archives. The works, survey techniques and plottings are clearly shown in these documents, but the accurate and meticoluos syrvey doesn’t correspond to a geometrically ordered design in the landscape.
On the whole, these works require predetermined plans based on a in depht knowledge of the land, in particular about the gradients. Depht and distance measurement have to be calculated before the elaboration of the project and supervised during execution. So the ancient works validate the creation of reliable measuring systems and the existence of scale surveys and projects based on adequate tools.
The canals provide the opportunity to reinterpret the reason behind the three main phases of landscape transformation:
- the orthogonal pattern of the division of land into a network of plots, during the Roman Age, that imposed a geometric and homogeneous on the land after its conquest;
- the radial pattern during the Middle Age of a territory characterised by urban centrality as the main feature of the landscape;
- the modern re-design wich used survey to “bring together” what already existed in the framwork of a large scale management of a structured area.
These drawings show how geometry - using measurement to “create order” (Le Corbusier), design - used as an element attesting to the city’s way over the land and lastly the role of survey are essential tools in this management and developement of the legacy of the earlier centuries.

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The power and limitations of cartographic language and views of the world are discussed with reference to Kei Miller's collection 'The Cartographer Tries to Map a Way to Zion.' The paper notes the development of cartographic ways of conceptualising the world, a Wittgensteinian response to the implicit frameworks of thinking, and the important role of poetry in challenging the tram-lines of authoritative language.

In the 1920s, the Palestinian ethnographer Tawfiq Kan'an examined the physical and narrative construction of Palestinian space by cataloguing the living archive of Palestinian sanctuaries. His collection of narratives, imbued in the sacred space of the "shrine, tomb, tree, shrub, cave, spring, well, rock [or] stone" is suggestive of cultural anthropologist Keith Basso's elaboration of "place-making" as learned from the Western Apache. Articulating two modes of disruption, place-making narratives preserve indigenous culture in the face of colonial conquest and unsettle colonial paradigms of spatial belonging and exclusion. Despite the efforts of settler colonial erasure, this interpolative practice has been carried through Palestinian narrative traditions into the present. Raja Shehadeh's Palestinian Walks: Notes on a Vanishing Landscape (2007) illustrates an indigenous mode of seeing, creating, and contesting spatial narratives, disclosing the role of place-making in contemporary Palestinian literature.

En virtud de los diagnósticos que cartografían la contemporaneidad desde los años sesenta hasta nuestros días para las acciones de la arquitectura, el arte y el pensamiento, se argumenta que no es posible una marginalidad creíble, productiva y alternativa a los discursos dominantes. Sin embargo, se interpreta el proyecto de arquitectura como una posibilidad de acción, que nos corresponde, inserto en un mapa que nos sirve para situarnos, no para orientarnos, y cuya figura más precisa es la de un delta, como algunos de los más agudos pensadores nos ofrecen recientemente. Proponemos una indagación del sentido de la palabra “silencio” llevado a su conceptualización y articulación mediante diferentes momentos productivos en un recorrido por la Modernidad amplia. Por último, se pretende argüir que el proyecto arquitectónico es un campo de conocimiento, y no aplicabilidad técnica, impelidos por la interpretación de un proyecto menor dentro de la producción del estudio EMBT, que permite recomponer en él todo lo dicho en cuanto a lo marginal, las cartografías, los silencios y la apertura como campo de conocimiento de la arquitectura, clave para la formación de nuevos arquitectos.

That talk is never disinterested complicates the relationship between the environment and the claims people make about it. Talk about place, and one's self in it, is particularly complex when the environment poses risk or is otherwise problematized. This study, a secondary analysis of interview data, seeks to extend discursive work on place-identity by examining the ways in which 14 residents of a small English village talk about themselves and their locale. The locale accommodates an active quarry, and many residents had lodged complaints to the quarry about dust, noise and vibrations from blasting. Attention to the interactional context of the interviews illustrates the ways in which (simply) interviewing people about their locale can threaten self- and place-identity. When asked about life in the village, interviewees oriented to two main dilemmas in protecting self- and place-identity: (1) how to justify continued residence in a challenging environment and (2) how to complain about the locale whilst maintaining positive place-identity. Discursive responses to these dilemmas drew upon typical identity processes, such as self- and place distinctiveness and the formulation of out-groups, as well as upon constructions of localized power-sharing and morally obligated tolerance of risk. We suggest that research on problematical places, and of environmental risk, needs to be sensitized to how it may constitute a threat to self- and place-identity, and how this may mediate formulations self and place, as well as of environmental risk.

Hailed as a leading art-house director in world cinema, Hong Kong director Wong Kar-wai (王家卫) is unique in the representation of filmic time. His films are characterised by episodic narration, unique cinematography, multiple speeds and temporalities (normal tempo, slow motion, and accelerated tempo), blurry images, and saturated colours. They are not conventional narratives of the "movement-image," but excel in the depiction of the "time-image" (Deleuze 1989: 98), in which time does not simply help develop plot and movement but is itself at the centre. Wong Kar-wai's films display a strong fascination with time and temporality, their construction, deconstruction, fragmentation, reconstruction, projection, and retrospection. Memory, nostalgia, and amnesia are recurrent motifs in Wong' films. Wong explores the artificially and complexity of memories, the alienation of historical time, as well as anxieties of the merging of individual and collective memories. As we will argue, Wong's films embody the principles of the "time-image" in modern cinema, or more appropriately, postmodern cinema, which is a cinema of fragmentation, self-reflexivity, paradox, double and multiple temporalities, non-linear narrative, and inconclusive endings. Using Gilles Deleuze's concepts of "movement-image" and "time-image," we explore various configurations of time in Wong Kai-wai's films. Thereby, we will focus especially on Wong's informal trilogy, namely, Days of Being Wild (1990), In the Mood for Love (2000), and 2046 (2004), in which Wong uses exemplary time-images to explore problems of time and memory in the changing geopolitical and psychosocial landscapes of Hong Kong, attempting to open up a space for its past to negotiate with its unknown future.

This article is a proposal to address visual mapping as a means to reveal the inter- relationships between a place represented, a place lived and a place perceived. A form of critical cartography called hybrid-mapping is used to interrogate the combined sociocultural and biophysical legacies of the continually changing land- scape. This approach expressly facilitates a focused interpretation of the everyday lives of urban dwellers and the nuanced connections between landscape, history and culture. Offering to a larger conversation about landscape representation, this arti- cle introduces, situates and analyses the application of hybrid-mapping in a crea- tive research project entitled Chinatown Invisible about Manhattan’s Chinatown. The Chinatown Invisible project uses hybrid-mapping to interrogate the quotidian practice of ‘making-do’ to adapt existing urban structures to fulfil everyday needs. Capturing and understanding making-do is vital because it sheds light on the ways in which residents informally claim space and how they shape the ongoing physical evolution of their neighbourhood, establishing their ‘right to the city’. Chinatown Invisible shows how hybrid-mapping unveils the dynamics between culture and landscape in an urban setting, bridging critical geography and landscape representa- tion to examine multiple ways in which we can interact with the processes of real, imagined and perceived space.

Participatory cartographies allow people to show on a map different situations that form the territory where they live. This process is carried out wiyhout intermediaries. Concerning heritage, participatory cartographies are being used to reflect those highly valued buildings, spaces or events that contribute to create the identity of a community. Moreover, these processes are useful to give expression to the relations and conflicts related to local heritage. In this article, four experiences concerning heritage and participatory cartographies are exposed: the sound map of Malaga, the Mapeandonos initiative, the workshop called “What maps don’t show” and the Malagaturismo project. In all cases goals, methodology and conclusions are presented.

Evangelical scholars and theologians have debated the character and purpose of Luke’s narrative in Acts 2 for well over a hundred years. There is still not a consensus amongst scholars as to what Luke’s narrative account is attempting to communicate. Was the filling of the Holy Spirit at Pentecost meant to be descriptive only? Why would Jesus, through the Holy Spirit, cause the disciples to act and speak in such a way that caused hearers to think they were “drunk on new wine?” (Acts 2:13). The meaning of this event at Pentecost was questioned by the eyewitnesses who experienced it according to Luke’s narrative (Acts 2:12). How then is a modern interpreter to make sense of such phenomena?
The goal of this paper is to address the key issues of Acts 2 and discuss the text’s broader literary and historical contexts and consider the doctrinal implications. The thesis of this paper will argue that Luke’s narrative in Acts 2 provides support for an actual historical event that also has theological implications.  While the narrative does highlight the supernatural worldview of the author, what Luke is theologically doing with the text is of equal importance. After examination, the discoveries will shed a brighter light on how the events at Pentecost should be interpreted in correspondence with an overarching, theological narrative of the Bible story. This paper will also argue for the benefit of interpreting Scripture with a supernatural worldview of the Bible and its original authors, while also viewing Luke’s characters and their experiences as actual historical events that took place in the first century. These events depicted in Luke-Acts tell a theological story that the author accounted for by sharing the testimony of eyewitnesses that were there (Lk 1:1-4; Acts 1:1-5). However, interpreting this passage does not come without its difficulties. There are many questions that need to be addressed.  Are there any common pre-conceived views that have led to possible exegetical misunderstandings? For example, was Luke’s purpose in listing out the specific geography of the Jews and proselytes present at Pentecost in Jerusalem? (Acts 2:9-11). Why was the phenomena of speaking in other languages relevant to Luke’s narrative? (Acts 2:4, 6). This paper will attempt to interpret Acts 2:1-13 by closely and critically engaging the correlating scholarship of this passage and contemplate its use for biblical theology while also considering its relevant expression in the context of modern missions, ministry, and biblical hermeneutics. Each section will propose questions to consider as they arise and will present them at the closing of each section. There will be an attempt to answer properly each question as thoroughly as possible in the following sections and revisit some of the remaining questions that are not answered in the conclusion and propose them for further study.

In Mapping Abundance for a Planetary Future, Candace Fujikane contends that the practice of mapping abundance is a radical act in the face of settler capital's fear of an abundance that feeds. Cartographies of capital enable the seizure of abundant lands by enclosing "wastelands" claimed to be underdeveloped. By contrast, Kanaka Maoli (Native Hawaiian) cartographies map the continuities of abundant worlds. Vital to restoration movements is the art of kilo, intergenerational observation of elemental forms encoded in storied histories, chants, and songs. As a participant in these movements, Fujikane maps the ecological lessons of these elemental forms: reptilian deities who protect the waterways, sharks who swim into the mountains, the navigator Māui who fishes up the islands, the deities of snow and mists on Mauna Kea. The laws of these elements are now being violated by toxic waste dumping, leaking military jet fuel tanks, and astronomical industrial complexes. As Kānaka Maoli and their allies stand as land and water protectors, Fujikane calls for a profound attunement to the elemental forms in order to transform climate events into renewed possibilities for planetary abundance.

RESUMO:
O presente artigo tem o objetivo de apresentar as cartografias dos jardins realizadas no bairro São Geraldo em Belo Horizonte. Partindo do entendimento de que as narrativas hegemônicas da produção capitalista do espaço dominam as narrativas cartográficas, pretende-se infiltrar a narrativa dos jardins como uma cartografia de resistência e de afetos no contexto das cidades. Essa cartografia é realizada a partir do reconhecimento desses jardins como elementos naturais culturais presentes no território de forte conexão entre humanos e não-humanos – terminologia baseada em Latour (1994). Numa concepção clássica, os jardins representam um microcosmo do infinito. Segundo Mongin (2013), no contexto da cidade fluxo, o mundo não é dado antecipadamente e é preciso sim, reinventá-lo. Assim, o jardim não seria só a expressão de um mundo preexistente, mas a manifestação de um mundo singular. Nesse sentido, a cartografia se torna um instrumento de recriação do mundo urbano via narrativa dos jardins.
PALAVRAS-CHAVE: cartografia; jardim; cidade; natureza urbana.
ABSTRACT:
The present article aims to present the cartographies of the gardens realized in the neighbourhood São Geraldo in Belo Horizonte. From the understanding that hegemonic narratives of capitalist production of space dominates cartographic narratives, it is intended to infiltrate the narrative of gardens as a cartography of resistance and affections in cities context. This cartography is realized through the recognition of those gardens as natural cultural elements present in the territory of strong connection between humans and non-humans - terminology based on Latour (1994). In a classic conception, gardens represent a microcosm of the infinite. According to Mongin (2013), in the new context of the city-flow, the world is not former present, and is yes needed to reinvent it. This way that would not be only the expression of pre-existing world, but the manifestation of a singular world. In that direction, the cartography becomes an instrument of recreation of the urban world through the narrative of gardens.
KEYWORDS: cartography; garden; city; urban nature.
RESUMEN:
El presente artículo tiene el objetivo de presentar las cartografías de los jardines realizadas en el barrio São Geraldo en Belo Horizonte. Partiendo de la comprensión de que las narrativas hegemónicas de la producción capitalista del espacio común dominan las narrativas cartográficas, se pretende infiltrar la narrativa de los jardines como una cartografía de resistencia y de afectos en el contexto de las ciudades. Esta cartografía es realizada a partir del reconocimiento de estos jardines como elementos naturales culturales presentes en el territorio de fuerte conexión entre humanos y no-humanos - terminología basada en Latour (1994). En una concepción clásica, los jardines representan un microcosmo del infinito. Segundo Mongin (2013), en el contexto de la ciudad flujo el mundo no es dado anticipadamente y es necesario si, reinventarlo. Así, el jardín no sería solamente la expresión de un mundo preexistente, pero la manifestación de un mundo singular. En este sentido, la cartografía se convierte en un instrumento de recreación del mundo urbano por medio de la narrativa de los jardines.
PALABRAS-CLAVE: cartografía, jardín, ciudad, naturaleza urbana.