Error processes in the integration of digital cartographic data in geographic information systems.

Errors within a Geographic Information System (GIS) arise from several factors. In the first instance receiving data from a variety of different sources results in a degree of incompatibility between such information. Secondly, the very processes used to acquire the information into the GIS may in fact degrade the quality of the data. If geometric overlay (the very raison d'etre of many GISs) is to be performed, such inconsistencies need to be carefully examined and dealt with. A variety of techniques exist for the user to eliminate such problems, but all of these tend to rely on the geometry of the information, rather than on its meaning or nature. This thesis explores the introduction of error into GISs and the consequences this has for any subsequent data analysis. Techniques for error removal at the overlay stage are also examined and improved solutions are offered. Furthermore, the thesis also looks at the role of the data model and the potential detrimental effects this can have, in forcing the data to be organised into a pre-defined structure

Words Matter: The Work of Lawrence Weiner

This dissertation explores the practice of contemporary artist Lawrence Weiner. From 1968 onwards, Weiner has presented his work using language and, as such, the artist is historically regarded as one of the pioneering practitioners of Conceptual art. The artist himself categorically refuses that designation, preferring to focus on the material aspects of his work. Nevertheless, his oeuvre has been largely received in terms of a predominantly linguistic intervention. Craig Dworkin encapsulates this position, when in discussing the Conceptual wager of Weiner's statements he writes: "Having tested the propositions that the art object might be nominal, linguistic, invisible, and on a par with its abstract initial description, the next step was to venture that it could be dispensed with altogether." By focusing equally on the linguistic and material aspects of Weiner's practice, this dissertation argues, conversely, that Weiner's work is primarily an object strategy, and not a dematerialized linguistic presentation. The first part of this discussion deals with Weiner's ground-breaking work from the mid 1960s to the early 1970s, analyzing the full implications of Weiner's extraordinary decision to present materials through language. Close comparisons are drawn with the profoundly materialist practices of contemporary artists such as Robert Rauschenberg, Carl Andre, Richard Serra and Robert Smithson. Weiner's use of language is also distinguished from the text-based works of Conceptual artists Joseph Kosuth and Douglas Huebler, problematizing the degree to which Weiner's statements can stand as an exemplar of postmodern textuality, inasmuch as their referential content remains of primary consequence. Several chapters of the dissertation focus on drawings, and in particular the artist's notebooks, an aspect of Weiner's practice that has remained largely unstudied. Crucially, the notebooks present a model of thinking which is wholly corporeal as opposed to purely analytical. Furthermore, they raise the problem of the visual in relation to a body of work that has been credited with the suppression of a traditional (optical) aesthetic. In being conceived by the artist as "maps," Weiner's drawings also invite an analysis of spatial considerations, and are thus linked to the artist's own designation of his work, not as art in general, but specifically as sculpture. Finally, the notebooks, like Weiner's films, practically dissolve the categories of reality and fiction. Indeed, Weiner himself would insist that every presentation of his essentially "realist" work is nonetheless inherently "theatrical." One of the long-standing criticisms of Conceptual art was that while it made aspects of circulation and distribution part of the work - thereby testing the limits of institutional constraint and expanding art's potential to engage in collective reception - it failed to achieve truly democratic access, in large part by neglecting issues of desire. Thus, Conceptual art's promise of collective accessibility was purportedly foreclosed by an art whose theoretical propositions lacked a democratic content. In closely considering the generic content of Weiner's work, this dissertation develops a picture not only of the concrete relationship between word and thing, but of the ways in which Weiner uses signs (drawings, text, films) to "objectify" desire, demonstrating that his "sculptures" must be seen as both conceptual and sensual, fully immersed in politicized questions of imaginary and bodily experience

Combining Geometrical and Mechanical Displacements for Suppressing Intersections in Cartographic Generalization

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Publications of the Jet Propulsion Laboratory, 1977

This bibliography cites 900 externally distributed technical reports released during calendar year 1977, that resulted from scientific and engineering work performed, or managed, by the Jet Propulsion Laboratory. Report topics cover 81 subject areas related in some way to the various NASA programs. The publications are indexed by: (1) author, (2) subject, and (3) publication type and number. A descriptive entry appears under the name of each author of each publication; an abstract is included with the entry for the primary (first-listed) author