Expressive map design: OGC SLD/SE++ extension for expressive map styles

In the context of custom map design, handling more artistic and expressive tools has been identified as a carto-graphic need, in order to design stylized and expressive maps. Based on previous works on style formalization, an approach for specifying the map style has been proposed and experimented for particular use cases. A first step deals with the analysis of inspiration sources, in order to extract ‘what does make the style of the source’, i.e. the salient visual characteristics to be automatically reproduced (textures, spatial arrangements, linear stylization, etc.). In a second step, in order to mimic and generate those visual characteristics, existing and innovative rendering techniques have been implemented in our GIS engine, thus extending the capabilities to generate expressive renderings. Therefore, an extension of the existing cartographic pipeline has been proposed based on the following aspects: 1- extension of the symbolization specifications OGC SLD/SE in order to provide a formalism to specify and reference expressive rendering methods; 2- separate the specification of each rendering method and its parameterization, as metadata. The main contribution has been described in (Christophe et al. 2016). In this paper, we focus firstly on the extension of the cartographic pipeline (SLD++ and metadata) and secondly on map design capabilities which have been experimented on various topographic styles: old cartographic styles (Cassini), artistic styles (watercolor, impressionism, Japanese print), hybrid topographic styles (ortho-imagery & vector data) and finally abstract and photo-realist styles for the geovisualization of costal area. The genericity and interoperability of our approach are promising and have already been tested for 3D visualization.

The Influence of Humanism on Post-Reformation Catholic Preachers in France*

Prior to the reformation, most sermons given in France were structured according to the “modern method” of division and subdivision, which proceeded in rather artificial fashion from theme to protheme, then to the elaboration of theological points and exempla. Those who deviated from this form, such as Jean Vitrier, were lavishly praised by humanists such as Erasmus, but were often sufficiently heterodox in other respects to attract the attention of the Paris Faculty of Theology. In the first decade after the outbreak of the Reformation in France, the modern method persisted, but by the 1530s it had been replaced almost completely by a much freer and more expressive rendering of theological and Biblical material. This was accompanied by an equally major change in the language of printing: by the mid-sixteenth century, almost all popular sermons were printed in French, whereas their earlier counterparts had been printed exclusively in Latin.