Author: maherrv

On Saturday, we hope to attend the Musique Royale concert by the Harpaflojt Trio at the Dawn Oman Art Gallery in Bridgetown.

It will be the third performance weekend in a row. Last weekend, it was Lisa Huyer and ‘Lief Forever’. Supporting musicians included Shelly Wallace, Mike Donnelly, Michael Robertson, Ray Devries and Patrick O’Brien.

From the Lisa Huyer collection of songs, I was impressed by the way each told a story about living in a place, within a community, in these challenging times.

As usual, because of Dawn’s connection to the North, I had the opportunity to catch up on back issues of ‘Up Here’ magazine with articles on the Yukon, Northwest Territories and Nunavut.

Afterwards, we headed to New Glasgow. Returning home, the sun was deep orange because of the smoke from the fires in the West. We took our usual route. Turning off Highway #102 at exit #10, passed Mill Village, MacPhees Corner, Cheese Factory Corner, Rawdon Gold Mines, Brooklyn before joining Highway #101 at exit 5, Windsor. On this route, there are long stretches of road where you can see the hills ahead of you, as you pass through the rural landscape.

Unlike the politicians who want to twin the #100 series highways, I like it the way it is.

Today, I received two gifts.

From my brother, a link to a Radio 4 broadcast on Windsor Great Park. From Frank Fox, the book by Jay Appleton ‘The Experience of Landscape’. My weekend listening and reading.

Postscript

From Brain Pickings, July 28, 2021, Beatrix Potter: A Life in Nature, by Linda Lear.

Acknowledgements

Dawn and Scott for bringing live music to Bridgetown. The talented local musicians. Heather shared the spectacular drive. Edward added the graphics. Peter and Frank for the gifts.

References

Dawn Oman Art Gallery, Bridgetown.

Up Here magazine, www.up here.ca

Jay Appleton, 1975, The Experience of Landscape, John Wiley.

BBC Radio 4, Open Country Windsor Great Park (aired July 29, 2021).

As part of my research on Historical GIS, I have been thinking about aerial photographs and satellite imagery of Nova Scotia. On the weekend, I went to talk to John Wightman in Bridgetown.

John has had several careers in his work life. He was Vice-Principal at NSLSI when they hired me to teach Scientific Computer Programming in 1980. John has had a long standing interest in the landscape and it’s geological structure. He reminded me that the Nova Scotia Department of Lands and Forests had taken aerial photographs of the provincial forest cover, every ten years. Likely since the 1950’s. He was also familiar with the work of the Canada Centre for Remote Sensing (CCRS) and their support of the LANDSAT series of satellites.

Given this background, it seems highly likely that we could document changes in the forest and agricultural landscape over the last ninety years. This would be a significant challenge for the total province, but we could sponsor a pilot project for a sub-region (eg. the Annapolis Valley).

Researching the availability of these images would take some time. However, the availability of imagery in combination with historical maps would give us the background story on landscape change.

My second conversation was online. In response to my recent blogs on maps and mapping, Sandra Barry sent me a poem by Elizabeth Bishop, ‘The Map’.

Sandra is a remarkable resource on the life and work of Bishop. Here is the poem, published in 1946 from the book, North and South.

THE MAP
 by Elizabeth Bishop
 
Land lies in water; it is shadowed green.
Shadows, or are they shallows, at its edges
showing the line of long sea-weeded ledges
where weeds hang to the simple blue from green.
Or does the land lean down to lift the sea from under,
drawing it unperturbed around itself?
Along the fine tan sandy shelf
is the land tugging at the sea from under?
 
The shadow of Newfoundland lies flat and still.
Labrador's yellow, where the moony Eskimo
has oiled it. We can stroke these lovely bays,
under a glass as if they were expected to blossom,
or as if to provide a clean cage for invisible fish.
The names of the seashore towns run out to sea,
the names of cities cross the neighboring mountains
--the printer here experiencing the same excitement
as when emotion too far exceeds its cause.
These peninsulas take the water between thumb and finger
like women feeling for the smoothness of yard-goods.
 
Mapped waters are more quiet than the land is,
lending the land their waves' own conformation:
and Norway's hare runs south in agitation,
profiles investigate the sea, where land is.
Are they assigned, or can the countries pick their colors?
--What suits the character of the native waters best.
Topography displays no favorites; North's as near as West.
More delicate than the historians' are the map-makers' colors.
 
(from North & South, 1946)

The appeal for me is the link between place, the cartographer’s craft and the poet’s sensibilities.

Two separate conversations, taking place, between Bridgetown and Middleton.

My hope is that COGS faculty and students believe it is worthwhile to develop an Historical GIS that incorporates both the early cartography and the subsequent image analysis.

Postscript

Tuesday evening, David Colville described a current student project that looks at the sand barrens ecosystem, using historical photography, in the Annapolis Valley. It is a collaboration with CARP. This fits well with my thinking. It covers the period 1930-2020.

Postscript

This weekend, we picked red currants, gooseberries and high bush blueberries. Lots of jams, jellies and desserts.

Acknowledgements

To John Wightman and Sandra Barry, both of whom, added to my initial story. David Colville provide current information on satellite imagery, and the student project. Edward Wedler added both his knowledge of remote sensing and technical skills.

References

Elizabeth Bishop,1946, North and South, (It includes the poem ‘The Map’).