Selected Courses on Digital Art-UOWM

9 Απριλίου 2013


Filed under: Notes — admin @ 11:20

Yet the general principle that underlies Le Roy’s thinking—the tracing of the development of an idée over time—resonates with another aspect of Cloué’s work. In an 1887 article, Cloué introduced two maps, each showing the path of the cyclone as it moved from the Laccadives to the Gulf of Aden at a specific time of the day. The first is a reinterpretation of the German map that appeared in German hydrographic journals in 1886. It shows the storm’s trajectory, as told from the point of view of different vessels. The paths of four of these are depicted as dashed arrows, each showing the general path of a ship as it moved with or against the oncoming storm. Labeled dots indicate the threshold at which barometric pressure reaches the 750 mm isobar at a certain time and location. The thickest, blackest line belongs to the Aden cyclone itself, here shown as moving in a shallow sine wave-like pattern as it entered the gulf. Small dots show that the storm was increasing in size as it approached land.

Maps showing trajectory, position, speed, and pressure of the Aden cyclone: (Top) Version based on one published in Annalen der Hydrographie; (Bottom) Cloué’s account (Source: Cloué, “L’Ouragan de juin 1885 dans le Golfe d’Aden (second mémoire)” Revue maritime et coloniale, Vol. 93 (Paris: Librarie Militaire de L. Badouin et cie, 1887)

This depiction of the storm is different from that in the second map, a summary of Cloué’s own research about the event. Here, the cyclone’s progression appears as series of circles that diminish in size—this, of course, verifying his observation that the storm behaved “irregularly.” As in the German map, the resulting diagram here represents information gathered from various vessels. Yet the most important difference is that in the French map, the cyclone appears to be taking a rectilinear path. This is because, according to Cloué, cyclones tend to follow the “line of least resistance” once they enter a confined space like the Gulf of Aden.[24] And after using additional accounts, Cloué concludes that the German report is erroneous. It is in this sense that much of the intellectual work behind Cloué’s 1887 article consisted of proving that, of all things, the cyclone behaved in a rational manner.

The two maps then exemplify different kinds of knowledge. The German map, which relied extensively on wind change data to show differences in isobars as well as the position of the storm, exemplified a quantitative approach to meteorology that was being recuperated slowly.[25] Cloué’s map, on the other hand, resonates with the kind of scientific thinking shown in the engravings from Le Roy’s Les navires. This map suggests that experience, in the form of the accounts from various vessels moored or traveling along the Gulf of Aden from May 31 to June 3, 1885, confirm the idea that cyclones travel in straight paths. The fact that the maps show the cyclone differently is also important. Whereas the German hydrographic map depicts the cyclone as a nebulous form that saunters along the Gulf of Aden, Cloué’s shows it as a circle—a convention that reflects the actual “position and extent” of the storm.[26]

Synoptic chart showing position of Aden cyclone relative to regional pressures. From W.L. Dallas, Storms of the Arabian Sea (Calcutta: Indian Meteorological Department, 1891) (Source: David Membery, “Monsoon Tropical Cyclones: Part 2,” Weather, Vol. 57, No. 7 (Jul., 2002), 247).

Zhang Kechun, Holding Mao’s picture swim across Yellow River in Henan, 2012. From the series: The Yellow River. Copyright: © Zhang Kechun, China, Shortlist, Landscape, Professional Competition, 2013 Sony World Photography Awards


Louise Porter, Kara Woman, Omo Valley, Ethiopia. Copyright: © Louise Porter, USA, Shortlist, People, Open Competition 2013 Sony World Photography Awards
Fausto Podavini. From the series: Mirella. Copyright: ©Fausto Podavini, Italy, Finalist, Lifestyle, Professional Competition, 2013 Sony World Photography Awards
Jens Juul. From the series Six degrees of Copenhagen. Copyright: ©Jens Juul, Denmark, Finalist, Portraiture, Professional, 2013 Sony World Photography Awards
Taking its point of departure in the idea that every person on Earth is connected in the sixth degree, this series of photos depicts human connections through the city of Copenhagen. The set up is that Jens Juul portray random people that he engage with in the streets, and that these chance meetings end up with him taking highly personal photos of these people, who then each send Jens Juul on to another person in their network, who he can portray, who then gives me the name of another person…
Danny Cohen, Polar Bear. Copyright: ©Danny Cohen, Australia, Shortlist, Enhanced, Open Competition 2013 Sony World Photography Awards
Arjen Schmitz. From the series Hong Kong. Copyright: © Arjen Schmitz, Netherlands Finalist, Landscape, Professional Competition 2013 Sony World Photography Awards

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