Showing posts with label cartography. Show all posts
Showing posts with label cartography. Show all posts

Thursday, July 30, 2015

How the Earth's Crust is Born: Marie Tharp "girl talk" and the Mid-Atlantic Ridge

Marie Tharp and the Mid-Atlantic Ridge Linocut
Marie Tharp and the Mid-Atlantic Ridge,
9" x 12" linocut on Japanese paper, by Ele Willoughby, 2015
Happy birthday to American geologist and oceanographic cartographer Marie Tharp (July 30, 1920- August 23, 2006), whose pioneering, thorough and complete ocean floor maps made with her partner in science Bruce Heezen revealed the Mid-Atlantic Ridge. The mid-ocean ridge itself, based on their 1957 physiographic map, is illustrated behind her, along with the sort of echo sounder or precision depth recorder tracks she used, in front of her.

Tharp had struggled to find the the right university major; she wanted something she could do, and enjoy, but there were not many options for women in her day. More opportunities opened up during WWII and she took the chance to return to school and study geology and then math. Looking for something challenging (but not tedious) she contacted Maurice 'Doc' Ewing at Lamont-Doherty Earth Observatory at Columbia, who hired her to draft data, including the thousands of echo sounder profiles they were gathering. Women were still not allowed to participate in research cruises, but they could work with the data. Before long, Heezen came to Lamont and required so much drafting work that Tharp worked exclusively with him.

Scientists once imagined the ocean floor as a largely featureless plain. Early depth measurements were taken with lead weights (such as canon balls) and a whole lot of rope! As early as the late 19th century, such laboriously collected datasets began to hint at a broad rise in the centre of the Atlantic. By the mid 20th century, there was a push to try and map these submarine mountains.

Tharp spent months painstakingly "plotting, drawing, checking, correcting, redrawing and rechecking" profiles of the North Atlantic. The ship tracks across the Atlantic were a sparse web, but when Tharp compared half a dozen more or less parallel transects she noticed no only the general similarities of the ridge, but a V-shaped notch in the centre of all the profiles. She suspected they coincided because they indicated a rift valley all along the ridge crest. The early ideas about plate tectonics or the "continental drift" theory were still quite controversial and unpopular. Heezen dismissed Tharp's observation as "girl talk" for looking too much like continent drift - as in fact it was indeed a vital piece of the plate tectonics puzzle. We now know that surface of the Earth is itself a jigsaw puzzle of pieces known as tectonic plates, jostling one another at a stately, geological pace. Mid-ocean ridges are underwater volcanic mountain chains which roughly bisect all ocean basins. They are all cut by a rift valley which is the spreading centre. These rifts are where new crust is born, pushing upwards and outward. This drives the two plates on either side slowly apart over geological time. On our own timescales of everyday life, we notice the bumps in this slow ride: the sporadic earthquakes, rather than the slow creep (though today, we can meticulously measure both).

Tharp believed the rift was real though her contour maps hadn't convinced Heezen. In 1952, they began working on physiographic maps, which would show seafloor topography as if you were flying just above it, and the water were drained away. These had the advantage of really giving a sense of the variety of geology, from plains to mountains, seamounts to trenches. Also, unlike detailed contour maps, physiographic maps were not US Navy classified information, so Tharp and Heezen would be able to publish what they produced. Further, they were beginning to gather much better precision depth recorder data, which revealed far more features, along with better navigation to plot ships' positions along tracks more accurately. A second project in their research group involved plotting earthquakes, and Heezen insisted they work at the same scale. Heezen then noticed that ocean earthquake epicentre data also formed long lines - and in fact, when one map was placed above the other on a light table they found the earthquakes formed near continous lines along the Mid-Atlantic ridge right where Tharp had indicated there was a rift valley. Using the earthquake data to extrapolate and plot the rift position where there was no seafloor sounding data, they found that the rift extend landward into the Rift Valley of East Africa - a well-known, easy to observe terrestrial rift valley. Heezen was then convinced. They had discovered a worldwide mid-ocean ridge system, tens of thousands of kilometres long. Tharp was able to mine existing data to show the Mid-Atlantic Ridge extended to the south Atlantic and found similar features in other oceans. These all similarly lined up neatly with earthquake epicentres. Ewing and Heezen announced their findings in 1956. In 1957 Tharp and Heezen published their North Atlantic physiographic map; I've shown my version of their map behind her. The ridge snakes from top to bottom (north to south-south-west), above and almost mimicking the line of her arm.

They continued this work, extending to other oceans over the next 25 years, ultimately producing detailed physiographic maps of the world oceans. Their pioneering work mapping the oceanic plate boundaries, and showing their clear alignment with seismic data helped fuel the revolution in geology and geophysics, the paradigm shift of plate tectonics.

Tharp's work was largely in the background during her university career, though she won a number of prizes during her retirement and has continued to gain posthumous recognition for the importance of her work and observations. I was very pleased to see her recognized recently in Neil DeGrasse Tyson's Cosmos reboot. I want to bring her incredible insight and excellent work to a wider audience as both artist and marine geophysicist myself.


(cross posted from the minouette blog)

Thursday, September 5, 2013

The Selected Works of T.S. Spivet


I seem to have fallen out of the habit of regularly reviewing books on my blog. I used to be more disciplined about it, and there is a series of reviews on the minouette blog (and here), including the one below for one of my favorite books of the last several years. I've also mentioned The Selected Works of T.S. Spivet on magpie&whiskeyjack, comparing the whimsical maps and scientific illustration of everything incorporated into the work of artist Simon Evans with those of the more strictly empirical modern-day Humboltian cartography protegy Spivet. If you, like me, are inspired by the fertile intersection of art and science, this is a novel for you. You should go read it right away, because as I was very pleased to read this morning, Jean-Pierre Jeunet (director of Amelie, or Le Fabuleux Destin d'Amélie Poulain in French) has adapted the novel for a movie to be released in France (filmed in English, with French subtitles) in October.



The Selected Works of T.S. Spivet by Reif Larsen

Reading this novel I thought, yes, this is what I want to do all the time. Why can't I just get paid to read books like this? I would be happy doing this indefinitely. Of course, are there books like this one? That is a harder question to answer. Tecumseh Sparrow Spivet (best. name. ever.) is a gifted prodigy in cartography at 12 years old. He lives on a ranch near Divide, Montana, with his mother, stalled entomologist, Dr. Clair, his teenage sister, Gracie, who would love to escape their small town and peculiar family, and strong-silent cowboy father T.E. Spivet. His brother Layton, has died, and we slowly learn more. T.S. keeps different coloured notebooks for maps of people doing things: zoological, geological, and topographical maps; and insect anatomy (should Dr. Clair ever call on his help), respectively. T.S. learns he has won the prestigious Baird Award from the Smithsonian, for his incredible mapping and scientific illustration work, and his adventure begins, as he decides to accept in person, but being 12, he sees his best means of transport as to hop on a freight train and hobo east. In this beautiful, whimsically illustrated book, T.S. maps everything from the Continental divide, to beetle subspecies, to cowboy moves, to facial expressions, to geology, to how McDonald's "penetrates my permeable barrier of aesthetic longing", to concentration of litter in Chicago, to his family history, to a many-worlds interpretation of quantum mechanics and what this might have meant for his family. This book is beautiful, in terms of the sensitivity and originality of the story (Wormholes of the Midwest! the hobo hotline?), the love of knowledge expressed, down to the layout of the text and images on the page. Maybe we will be lucky enough to be recruited into the Megatherium club. The manner in which this child's mind breaks up the world is a reminder of why science is wonderful and the joy of unfettered thinking. The story is also interwoven with that of T.S.' ancestors, including his great-grandmother the early geologist. We get both 'when science was young' and 'the young scientist'.

Maybe I'll go reread it myself now.  (cross-posted to minouette)

Wednesday, August 10, 2011

Cartographic Music



A three-dimensional city plan as rotating cylindrical pianola drum in Akko Goldenbeld's 'Stadsmuziek' turns map into music. Building height maps unto note intensity with this scale model of Eindhoven, Netherlands, where model buildings strike hammers which hit piano keys. You can 'hear' the urban plan, the density, distribution and size of buildings make unmelodic, but fascinating music.




(via le territoire des sens)

Sunday, January 3, 2010

mapping life: intersection of art & science

Simon Evans paints and weaves and creates maps, whether that be of a scientific illustration of human anatomy, a town wherein all is whited out, a subway map with names replaced with bizzare connotations, the entirety of his possessions, or an imaginary version of the world. This reminds me of the delightful (illustrated and annotated) novel The Collected Works of T.S. Spivet by Reif Larson (which you should go read immediately, if not sooner). T.S. (Tecumseh Sparrow) is 12, and lives in Divide, MT, and maps everything in his life experience (from the distribution of trash in Chicago, to means of not appearing lonely, to the frequency of arm movements during his father's drinking a glass of whiskey, to the mating dance of beetles). Simon Evans does the same, with artistic license, rather than strict empiricism of the modern-day Humboltian cartography protegy Spivet.


Symptoms of Loneliness, 2009
Pen, paper, scotch tape, correction fluid
28 1/2 X 39 3/8 inches



Home Country, 2008-9
Paper weaving
58 5/8 X 42 1/8 inches





Lemuel Gulliver, 2004-5
Mixed media on paper
30.25 x 44 inches



Different Drugs, 2004
Mixed media on paper
19.75 x 26 inches



The World, 2003
Mixed media on paper
60 x 84 inches


Evans' work, though less abstract, reminds me of natural phenomena paintings of Paterson Ewen. (I came across Evans via but does it float). I wrote more about The Collected Works of T.S. Spivet here. Even the website somehow managed to move me. The novel is a thing of beauty not to be missed!

Carly Waito (one half of Coe and Waito, previously featured in magpie & whiskeyjack's post roccocco jellyfish) has been painting minerals. (I found this out both via dear ada and via sara titanic whose blog includes photos of Carly's process and who has written an article about her studio visit for Now magazine). I've been thinking about depicting minerals for a long time (you know, I am an earth scientist after all, and it is mystifying, though self-evident that crystals and gems are present in the zeitgeist, and they are perfect for the conceptual wunderkammer I am secretly gathering)... but while they make an unwiedly subject for a relief print Waito's delicate, precise, luminous portraits with their perfect imperfections are exactly what is called for. Enjoy!


bornite ~ oil on masonite ~ 7" x 6.5" The common name of this mineral (for obvious reasons) is peacock ore.


Hessonite, Asbestos ~ oil on masonite ~ 6" x 6"


Amethyst 2 ~ oil on masonite ~ 5.5" x 7".

If you are in Toronto, you can see these paintings for yourself at the group show Little Crowns, at Narwhal. (If you aren't, note the dimensions - unlike Evans' maps, these portraits are small).

Scientific illustrator Cornelia Hesse-Honegger is a real-life artist-researcher whose artwork is science in and of itself. Her sensitive, beautiful watercolours of morphologically disturbed insects, including, for instance, those she has gathered in the fallout region surrounding Chernobyl both are portraits in the artistic sense and scientific evidence. She has also gathered and illustrated insects from other regions which may have radioactive contamination. There is something delightfully 19th century about gathering and illustrating specimens of insects, but as we persist in changing our environment, the insects themselves will change in turn, and require such careful descriptive art and science.


Drosophila melanogaster, head and abdomen
Head and abdomen are disturbed.
Watercolor, Zürich 1987
(specimen from Chernobyl)


37 different Ladybird Beetles from Switzerland
Watercolor, 1976 - 1981



Ambush bug near Three Mile Island, USA
Ventral: the left side front foot is damaged; the right side one has a dark spot, as well as Watercolor, New Cumberland / Zürich 1991


Where fields intersect ideas clash, but the clash itself can be fruitful; never discount what fresh eyes can see.

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