Tectonics of cartography

Probably by dint of seductive appearances and overflowing passion for cartography, by dint of instant accessibility to all kind of maps and any graphic representations commonly called ‘maps’ and finally by dint of confusions between what is an IMAGE and what is a DATA, everyone forgets that, at the dawn of a cartographic project, ‘THE MAP STILL DOESN’T EXIST’. For it to exist, a scope of collective work and essential skills are necessary. First of all, the aim of a mapping project must be identified. Its specifications, statement of requirements, its schedule of conditions must be sealed by a contract between an orderer and a cartographer.The objective of this presentation is to recall how a keyboard is neither a magic thought nor a magic wand. Clicking on it will never finalize our work without us, cartographers, but engages us to follow series of timeless execution process over the entire duration of the cartographic production, in anticipating each action.Our work consists in making every effort, by all the necessary technical and human means, to gather the knowledge of a subject (or several) to ‘Map-draw’ with the ultimate goal of returning this acquired knowledge to the readers. Their eye has to find at first glance the information sought. Indeed, the more beautiful and easier to grasp the map is, the more it will be consulted with pleasure.Through a range of cartographic memories, the following characteristic examples of out-of-standard cartographic productions will detail the pertinence of this meticulous cartographical articulation.

A Complete Axiomatisation for Quantifier-Free Separation Logic

We present the first complete axiomatisation for quantifier-free separation logic. The logic is equipped with the standard concrete heaplet semantics and the proof system has no external feature such as nominals/labels. It is not possible to rely completely on proof systems for Boolean BI as the concrete semantics needs to be taken into account. Therefore, we present the first internal Hilbert-style axiomatisation for quantifier-free separation logic. The calculus is divided in three parts: the axiomatisation of core formulae where Boolean combinations of core formulae capture the expressivity of the whole logic, axioms and inference rules to simulate a bottom-up elimination of separating connectives, and finally structural axioms and inference rules from propositional calculus and Boolean BI with the magic wand.

V.Nabokovʼs King, Queen, Knave: Love Story from the Life of Mannequins or a Novel about the Mysteries of Writing?

This article is devoted to the analysis of the formal content structure V. Nabokov / Sirin’s second novel “King, Queen, Knave” (1928). The “realistic” narration about adultery is here сlosely connected with metaphysical themes and the features of game poetics. The theme of mannequins, dolls and maps is interpreted here in a quite new way. It is shown that, contrary to popular belief, not the figures of mannequins and dolls highlight the images of the characters, their soulless and mechanistic, but, conversely, the novel “King, Queen, Knave” shows how the blanks of literary heroes types, with a wave of the Author’s magic wand, turn into real people. From the stereotypical figures of the triangle husband – wife – lover and the banal plot about adultery, V. Sirin created a fresh and unusual story with non-standard and accurately drawn characters, with a non-trivial structure of the plot and original narrative models. From the sketchy narrative of adultery, the true dominant theme of the novel emerges – the revival of the inanimate, the creation of the “living life” of a literary text. In every episode, in every moment of the narrative, in every plot course, the Author emphasizes his dominant, organizing and creating role. The law of the Author’s willfulness dominates over the eventual field of the novel and forms game poetics of the novel. The elements of the game and the chance reign here and control the logic of the plot development, the atmosphere is created by the card name, the crazy old man-illusionist, various models of sports games (tennis, mountain skiing, sports equipment store, etc.) and children’s (dolls), dressing up and carnival masks, etc. The Author, in the face of chance / or fate, throws trick-mirages (a pistol that turned out to be a lighter, etc.) to the heroes, and then brutally exposes them; organizes driving rain or sends deadly disease. From the game in the play quite naturally emerge two Russians – the “representatives” of the Author in the text.