BEGIN:VCALENDAR VERSION:2.0 PRODID:-//pretalx//pretalx.com//spathum24//speaker//DVBLTU BEGIN:VTIMEZONE TZID:CET BEGIN:STANDARD DTSTART:20001029T040000 RRULE:FREQ=YEARLY;BYDAY=-1SU;BYMONTH=10 TZNAME:CET TZOFFSETFROM:+0200 TZOFFSETTO:+0100 END:STANDARD BEGIN:DAYLIGHT DTSTART:20000326T030000 RRULE:FREQ=YEARLY;BYDAY=-1SU;BYMONTH=3 TZNAME:CEST TZOFFSETFROM:+0100 TZOFFSETTO:+0200 END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:pretalx-spathum24-H3GV7H@pretalx.com DTSTART;TZID=CET:20240926T100000 DTEND;TZID=CET:20240926T103000 DESCRIPTION:Atlascine is a free\, open-source and online platform dedicated to annotating\, visualizing and exploring stories with maps (https://atla scine.org/). This application was developed to address theoretical and eth ical issues raised in oral history\, post-representational cartography\, f eminist data visualization and deep mapping\, and today occupies a unique niche at the intersection of story mapping platforms liked ESRI StoryMaps\ , Nunaliit and StoryMap JS\, and oral history tools such as Oral History M etadata Synchronizer and Recogito. It combines the spatial visualization t ools and techniques of the former with the indexing and annotating feature s of the latter to produce maps and atlases that open up and mobilize arch ives of recorded media to the research communities and to the educational benefit of wider publics. \n\nThe latest version of Atlascine presented in this paper is organized as three modules: A Data Management Module for up loading\, modifying and browsing the data displayed in an atlas\; A Storie s Module in which stories on an atlas are tagged and mapped individually\; and a Themes Module in which all the stories of an atlas are connected an d overlaid based on common themes and places. This structure and associate d features have been designed to address key principles in the mapping of stories that pertain to a range of cartographic projects\, the first and m ost fundamental of which being that (1) the map does not replace the story . Given all the transformations that cartographic processes can impose on source data\, this key guiding principle is especially relevant for sensit ive story data whose multidimensionality is still beyond what a map can re present. As such\, the mapmakers’ and storytellers’ voices remain clea rly differentiated. (2) The integrity and completeness of each mapped stor y (i.e. dataset) must also be preserved. While mapping stories is usually associated with a selection and curation of segments and materials that ar e of particular interest to the mapmaker\, Atlascine makes no such fragmen tation\, preserving necessary context and meaning amid any cartographic tr ansformation. (3) The mapping process is also exposed and made to be trans parent. As a core principle in contemporary cartography\, such transparenc y acknowledges the impact that cartographic decisions and processes have o n their mapping outcomes and opens them up to critique\, contestation and discussion. Three additional principles help to outline a practice of mapp ing for story collections put forward by Atlascine: (4) The narrative path ways of the story are exposed as a visualized spatial trajectory\, reveali ng the spatial complexity of its narrative structure. These narrative path ways are (5) connected through places\, which emerge as plural and collect ive in that they assemble multiple mapped stories\, allowing us to explore the collective knowledge and experiences embedded in story collections to reveal similarities and differences among and between them. Finally\, (6) the map acts as an interface\, or as a “portal” into these narratives . The map services itself to the stories and acts as an invitation to expl ore them both analytically and affectively.\n\nThese different functions a nd features have made Atlascine appealing to a range of mapping projects. At the time of writing this paper\, about 150 stories have been mapped in different atlases. The Atlas of Rwandan Life Stories contains 20 oral his tory interviews from members of the Rwandan community living in Montréal\ , including many from survivors of persecution and genocide. Mapping these life stories raised challenging ethical\, methodological\, and technologi cal questions that shaped the early stages of the platform’s redesign. T he La Ville Extraordinaire atlas presents over 70 oral history interviews of elderly Montrealers from multiple origins and backgrounds that provide a community-based perspective on its cityscape and history. Meanwhile\, t he atlas of Intangible heritage of Parc-Extension \, a multicultural neigh borhood in Montreal facing intense gentrification\, includes 14 interviews of residents who share their memories in the context of urban change. Fin ally\, the Raconte-moi Riopelle atlas is part of an oral history project intended to deepen our understanding of the life and career of visual arti st Jean Paul Riopelle through the mapping of 17 interviews about their wor k and vision.\n\nAtlascine is a unique platform that addresses ethical iss ues raised by the mapping of stories of violence and genocide\, methodolog ical issues raised by the mapping of stories more generally\, technologica l issues raised by the navigation between and within stories and maps\, an d theoretical issues raised in contemporary cartography. Atlascine’s uni que combination of textual\, visual and cartographic elements\, coupled wi th the immersive power of the stories themselves make it a valuable tool f or recording and communicating nuance and emotion about events\, people an d places. DTSTAMP:20260317T025554Z LOCATION:MG2 01.10 SUMMARY:The Map Never Replaces the Story - Story Mapping Principles & Pract ices from the Atlascine Project - Sébastien Caquard\, Emory Shaw URL:https://pretalx.com/spathum24/talk/H3GV7H/ END:VEVENT END:VCALENDAR