机械制图国家标准的绘图模板
Before the pandemic we already saw a drive towards digitisation. Especially cultural institutions like art galleries, museums, libraries and archives faced criticism to make accessible their objects through the digital medium. These institutions can turn the current pandemic crisis into an opportunity to change. Adaptation will allow for sustainable ways to conserve, present and consume heritage for everyone anywhere, catering to a contemporary audience that “expects both stability and flexibility” [1].
在大流行之前，我们已经看到了向数字化发展的动力。 尤其是美术馆，博物馆，图书馆和档案馆等文化机构面临批评，要求通过数字媒体访问其对象。 这些机构可以将当前的大流行危机变成改变的机会。 适应将以可持续的方式来保护，展示和使用世界各地的所有人的遗产，从而迎合“既期望稳定又具有灵活性”的当代观众[1]。
What else does a contemporary audience expect? The ways in which exhibitions offer heritage consumption, they should also offer ways to study history as a critical tool. Used for reflecting on present challenges the tool can be very handy. There is no limit to the ‘space’ a digital object can take up, so why not utilise that freedom? [2]
当代观众还有什么期望？ 展览提供文物消费的方式，也应提供研究历史的重要工具。 用于反映当前挑战的工具非常方便。 数字对象可以占据的“空间”没有限制，那么为什么不利用这种自由呢？ [2]
“弯曲线”-关于“弯曲”现实的展览 (‘Bending Lines’ — an exhibition on ‘bending’ reality)
The Boston Public Library’s Leventhal Map Center is currently curating a year-long online exhibition called ‘Bending Lines: Maps and Data from Distortion to Deception’ [3]. It challenges traditional online displays by offering interactive materials for students. The idea originates from ‘Persuasive Cartography’ — the history of how maps and visual data manipulate reality for subjective agendas [3]. If you think you’ve never heard of this, trust me, you’ve seen it. How about national propaganda and political campaign maps, advertisements, or statistical graphs on the news?
波士顿公共图书馆的莱文塔尔地图中心目前正在组织为期一年的在线展览，名为“弯曲线：从扭曲到欺骗的地图和数据” [3]。 它通过为学生提供互动资料来挑战传统的在线显示。 这个想法起源于“说服性制图”-地图和视觉数据如何为主观议程操纵现实的历史[3]。 如果您认为自己从未听说过，请相信我，您已经看到了。 新闻中的国家宣传和政治运动地图，广告或统计图表如何？
Garret Dash Nelson, Leventhal Center’s map curator, explains the exhibition guides the viewer on how to become a responsible map reader [4]:
莱文塔尔中心的地图策展人加勒特·达什·纳尔逊( Garret Dash Nelson)解释了展览如何引导观众成为负责任的地图阅读者[4]：
“Every map is infused with its maker’s decisions, which ultimately present a pattern, story or argument.”
“每张地图都注入了其决策者的决定，最终提出了一种模式，故事或论据。”
He’s not only referring to medieval maps of Prussia or the WWII Japanese Empire, but highlighting how persuasive cartography’s history is relevant “in an age of abundant data and digital tools” [4]. We might think ‘modern’ tools bring objectivity and accuracy, but the relationship of data to truth remains ambiguous — be it on paper or digital.
他不仅指的是普鲁士或第二次世界大战的日本帝国中世纪地图，而且还强调了说服力的制图历史“在一个拥有大量数据和数字工具的时代”如何相关[4]。 我们可能会认为“现代”工具带来了客观性和准确性，但是数据与真相的关系仍然不明确-无论是书面形式还是数字形式。
“How can you tell what’s real, and what’s a distortion?” asks Garret [4].
“你怎么知道什么是真实的，什么是歪曲的？” 问Garret [4]。
参观数字展览 (Touring the digital exhibition)
The exhibition's interactive format takes you through three sections: Why Persuade?, How The Lines Get Bent, and The Power to Make Belief. There are photos, descriptions, explanations, immersive content, mini-tours and much more. It forces us to ask who made these maps, what meanings motivations and persuasions they hold, and how do they ‘bend’ reality?
展览的互动形式将带您进入三个部分：为什么要说服？ ，线条如何弯曲，以及信仰的力量。 有照片，描述，说明，沉浸式内容，迷你旅行等等。 它迫使我们问是谁制作了这些地图，它们持有什么意义的动机和说服力，以及它们如何“弯曲”现实？
The first section draws scrutiny towards the intent behind someone creating a map, such as patriotism for nationalist and imperialist maps. For example, ‘The Ever-Threatening Octopus’ is a widely recognised 17th-century map of the Russo-Turkish War using the visual motif of an octopus to represent and exaggerate threat.
第一部分对创建地图的人的意图进行了审查，例如创建民族主义和帝国主义地图的爱国主义。 例如，“永恒的章鱼”是一张公认的17世纪土耳其-土耳其战争地图，它使用章鱼的视觉图案来表示和夸大威胁。
The second section dives into the many techniques to classify and quantify data, including representational choices to communicate and symbolise information. As part of this, Garret explains they commissioned a project called Same Data, Different Stories to show how the same set of data can produce different visual results.
第二部分深入探讨了对数据进行分类和量化的许多技术，包括用于交流和符号化信息的代表性选择。 作为其中的一部分，加勒特解释说，他们委托了一个名为“相同数据，不同故事”的项目，以展示同一组数据如何产生不同的视觉效果。
One example came from Massachusetts’ geographical data across categories of environment, infrastructure and demographics. From this, cartographers were asked to make a pair of maps with opposing conclusions. Maggie Owens, an analyst, created a map pair showing toxic hazards across the state. One visual map argued cities are most affected by pollution whereas the other showed rural areas are.
一个例子来自马萨诸塞州的各种环境，基础设施和人口统计数据。 由此，制图师被要求制作一对结论相反的地图。 分析师Maggie Owens创建了一个地图对，显示了整个州的有毒有害物质。 一张视觉地图认为城市受污染影响最大，而另一幅则显示农村地区受到污染。
“We’d like to think that numbers speak for themselves, but whenever we’re using data there’s a crucial role for the interpreter, and the way people make those maps can really affect the assumptions they’ve brought into the assignment,” says Garret [4].
“我们想让数字说明一切，但是每当我们使用数据时，解释器就扮演着至关重要的角色，而人们制作这些地图的方式确实会影响他们带入作业的假设，”他说。阁楼[4]。
The last section is about the relationship between truth and power; and how it’s represented visually, touching upon themes including race, language, and territory. Ending with special educational activities, it leaves younger students asking for more.
最后一部分是关于真理与力量之间的关系。 以及在视觉上如何体现种族，语言和领土等主题。 结束特殊的教育活动，它使年轻的学生要求更多。
为什么要在Covid世界中照顾地图？ (Why care for maps in a Covid-world?)
In a time of endless information, or an “infodemic,” it’s crucial to learn which visual representations of data are trustworthy [5]. In the news, when you see electoral maps or statistics about Covid-19, they’re subject to biases. Given the pandemic context, Bending Lines has a larger objective as explained by Garret [4]:
在信息无止境或“信息流行”的时代，至关重要的是要了解数据的哪些可视表示形式值得信赖[5]。 在新闻中，当您看到有关Covid-19的选举地图或统计数据时，它们会受到偏见的影响。 在大流行的背景下，弯曲线具有更大的目标，正如Garret [4]所述：
“We also wanted to think about this as a way to promote data literacy, which is a critical attitude towards media and data visualisations, to bring together this long history of how maps produce our sense of reality.”
“我们还想将其视为提高数据素养的一种方式，这是对媒体和数据可视化的一种批判态度，它将长期以来的地图如何产生我们的真实感融合在一起。”
Garret is right. While “the web is crawling with numerous sophisticated visualisation projects” [6]; and seeing how misinformation spreads like a beehive explosion [7], we need to learn how to become responsible data readers. One of the major drawbacks of visual data and maps is disproportional reductionism. Numbers, lines, points, shapes and colours claim to represent objects and their relations “regardless of whether these are people, their social relations, stock prices, income of nations, unemployment statistics, or anything else” [6].
加勒特是对的。 尽管“网络上爬行着众多复杂的可视化项目” [6]； 并查看错误信息如何像蜂巢爆炸一样传播[7]，我们需要学习如何成为负责任的数据读取者。 视觉数据和地图的主要缺点之一是不成比例的还原主义。 数字，线，点，形状和颜色声称代表对象及其关系“无论这些对象是人，其社会关系，股票价格，国家收入，失业统计数据还是其他” [6]。
On the web and in the news, Covid-19 maps tend to emphasise on some factors while hiding others. For instance, they normally show only confirmed cases and not all cases. This means while claiming to show a country’s state of outbreak, they’re actually representing the country’s scale and level of testing for the disease [8].
在网络和新闻中，Covid-19地图倾向于强调某些因素，而隐藏其他因素。 例如，它们通常仅显示已确认的案例，而不是所有案例。 这意味着，尽管声称显示一个国家的爆发状态，但它们实际上代表了该国家对该疾病的检测程度和水平[8]。
Without contextualising visual data within things like geography, socio-demographics, cultural aspects and political decisions, misinformation continues to spread [5].
如果没有在地理，社会人口统计，文化方面和政治决策之类的内容中关联视觉数据，错误信息就会继续传播[5]。
过去的映射天真 (Past the mapping naivety)
Why does misinformation continue to spread by visual maps? They possess a certain power by enabling people’s trust in them and tendency to ‘naively’ accept them as true [5]. Visual language is largely linked to the paradigm of scientific objectivity. As a viewer, we tend to forget that the data we see is never free from context, interpretation or explanation [9].
为什么错误信息会继续通过视觉地图传播？ 通过使人们信任他们并倾向于“天真”地接受他们为真，他们具有一定的力量[5]。 视觉语言在很大程度上与科学客观性范式相关。 作为观察者，我们往往会忘记，我们所看到的数据永远不会脱离上下文，解释或解释[9]。
“Data is often communicated in visualisations that are crafted to tell a specific story, and context is often lost in the process of simplifying data; similarly data is often touted as objective, inherently factual information, untouched by human interference” [9].
“数据通常以可视化的方式传达，目的是讲一个特定的故事，而上下文在简化数据的过程中经常会丢失； 同样，数据经常被吹捧为客观的，固有的事实信息，不受人为干扰” [9]。
Visual data is subjected by where it’s situated, like every act of communication. So, Covid-19 maps and graphs we see every day aren’t the ‘objective’ representations they claim to be. We associate them with “logical arguments and scientific enlightenment” [7] while forgetting their social, cultural and political context.
视觉数据受其所在位置的影响，就像每个通信行为一样。 因此，我们每天看到的Covid-19地图和图形并不是他们声称的“客观”表示。 我们将它们与“逻辑论证和科学启蒙” [7]联系起来，而忘记了它们的社会，文化和政治背景。
Bending Lines is a powerful exhibition, both in its format and content. It tries and utilises digital freedom in new ways to exhibit history interactively, while allowing the viewer to engage and reflect on history from a critical lens. We learn to spot what is and isn’t trustworthy data in a time when ‘truth’ is more distant than ever.
弯曲线是一个功能强大的展览，无论是形式还是内容。 它尝试并以新的方式利用数字自由来交互式地展示历史，同时允许观看者从关键镜头参与并反思历史。 在“真相”比以往任何时候都更遥远的时代，我们学会发现什么是可信赖的数据，哪些不是可信赖的数据。
Bibliography
参考书目
[1] Innovation & Cultural Heritage Research: 20 March 2018, Royal Museum of Arts and History, Brussels : Conference Report. Publications Office, 2018. DOI.org (CSL JSON), https://data.europa.eu/doi/10.2777/303242.
[1]创新与文化遗产研究：2018年3月20日，布鲁塞尔皇家艺术与历史博物馆：会议报告。 出版物办公室，2018年.DOI.org(CSL JSON) ， https: //data.europa.eu/doi/10.2777/303242 。
[2] Kahn, Rebecca. ‘Locked down Not Locked out — Assessing the Digital Response of Museums to COVID-19’. Impact of Social Sciences, 8 May 2020, https://blogs.lse.ac.uk/impactofsocialsciences/2020/05/08/locked-down-not-locked-out-assessing-the-digital-response-of-museums-to-covid-19/.
[2]卡恩，丽贝卡。 “锁定未锁定-评估博物馆对COVID-19的数字响应”。 社会科学的影响， 2020年5月8日， https：//blogs.lse.ac.uk/impactofsocialsciences/2020/05/08/locked-down-not-locked-out-assessing-the-digital-response-of-museums -to-covid-19 / 。
[3] Bending Lines: Maps and Data from Distortion to Deception. www.leventhalmap.org, https://www.leventhalmap.org/digital-exhibitions/bending-lines/. Accessed 21 Sept. 2020.
[3]折线：从失真到欺骗的地图和数据。 www.leventhalmap.org ， https: //www.leventhalmap.org/digital-exhibitions/bending-lines/ 。 于2020年9月21日访问。
[4] Bliss, Laura. ‘What History Teaches Us about the Biases of Maps’. CityLab, Bloomberg.Com, 28 May 2020. www.bloomberg.com, https://www.bloomberg.com/news/articles/2020-05-28/how-to-deconstruct-and-interpret-maps.
[4]极乐，劳拉。 “什么历史教给我们关于地图偏见的信息”。 CityLab ，Bloomberg.Com，5月28日到2020年www.bloomberg.com， https://www.bloomberg.com/news/articles/2020-05-28/how-to-deconstruct-and-interpret-maps 。
[5] Mooney, Peter, and Levente Juhász. ‘Mapping COVID-19: How Web-Based Maps Contribute to the Infodemic’. Dialogues in Human Geography, vol. 10, no. 2, SAGE Publications, July 2020, pp. 265–70. SAGE Journals, doi:10.1177/2043820620934926.
[5] Mooney，Peter和LeventeJuhász。 “映射COVID-19：基于Web的地图如何促进Infodemic”。 《人类地理对话》 ，第1卷。 10号2，SAGE出版物，2020年7月，第265-70页。 SAGE Journals ，doi： 10.1177 / 2043820620934926 。
[6] Manovich, Lev. ‘What Is Visualisation?’ Visual Studies, vol. 26, no. 1, Routledge, Mar. 2011, pp. 36–49. Taylor and Francis+NEJM, doi:10.1080/1472586X.2011.548488.
[6]马诺维奇，列弗。 “什么是可视化？” 视觉研究，第一卷26号1，Routledge，2011年3月，第36-49页。 泰勒(Taylor)和弗朗西斯(Francis + NEJM) ，doi： 10.1080 / 1472586X.2011.548488 。
[7] Doan, Sara. ‘Misrepresenting COVID-19: Lying With Charts During the Second Golden Age of Data Design’. Journal of Business and Technical Communication, SAGE Publications Inc, Sept. 2020, p. 1050651920958392. SAGE Journals, doi:10.1177/1050651920958392.
[7] Doan，Sara。 “歪曲COVID-19：在数据设计的第二个黄金时代躺在图表上”。 《商业和技术交流杂志》 ，SAGE出版公司，2020年9月，第1页。 1050651920958392. SAGE Journals ，doi： 10.1177 / 1050651920958392 。
[8] How Coronavirus Charts Can Mislead Us. 2020. Vox, https://www.youtube.com/watch?v=O-3Mlj3MQ_Q.
[8]冠状病毒图表如何误导我们。 2020年。Vox ， https：//www.youtube.com/watch？v = O- 3Mlj3MQ_Q 。
[9] Atherton, Rachel. ‘“Missing/Unspecified”: Demographic Data Visualization During the COVID-19 Pandemic’. Journal of Business and Technical Communication, SAGE Publications Inc, Sept. 2020, p. 1050651920957982. SAGE Journals, doi:10.1177/1050651920957982.
[9]阿瑟顿，瑞秋。 ““缺少/未指定”：COVID-19大流行期间的人口统计数据可视化”。 《商业和技术交流杂志》 ，SAGE出版公司，2020年9月，第1页。 1050651920957982。SAGE Journals ，doi： 10.1177 / 1050651920957982 。
机械制图国家标准的绘图模板
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