| Abstract: | The role of art in relation to maps is being reappraised on the basis of a perceived ability to depict aspects of a place that maps alone cannot. Many as opposed to one perspective on a place communicates more fully the essence of that place (with art as a valuable source of qualitative geospatial data) and so maps and art should be presented in the same visualization package. This paper outlines the development and implementation of an interface where a scanned painting forms the mode of access to an embedded sequence of maps. The interface is used to represent the history and habitat extent of the kea (alpine parrot) in New Zealand from pre human colonization times through to their present, limited range to a speculation on their future habitat. The painting and the map (in what has been termed in the literature as an anti-map / map combination) are in their own separate layers and joined by an interactive link. The interface harnesses the ability of visual art to aggregate multiple themes, locations and times into a single cohesive image, coupled with map composition and symbology that complements the painting. The ability to contain many temporal instances is close to the comic strip frame (and instances of Renaissance art) in particular, with, in this case, an implicit time frame from left to right on the painting. The use of an artistic image minimizes use of text to depict events, due to the visual and narrative power of the painting. |
