History of Globes

Abstract. Google Earth VR (GEVR), released in 2017, claims to put the whole world within reach using virtual reality (VR). Relying on sensors that track a user’s position and gestures in actual space, GEVR suggests that users can experience its virtual Earth in the same way that they experience the real one: as a world they actively embody rather than a representation they examine from the outside. While GEVR conjures a dematerialized world, it also interrogates how what counts as a material world may always be suspended between embodied, technical, and aesthetic mediations. If ‘the whole world’ – which exceeds individual perception – can only be conceived through aesthetic logics, what do the particular aesthetics of GEVR tell us about the way our world is imaged and imagined today? What are the implications of the way it stages ‘worlding’ as a provisional, dimensional coordination? What does the disorienting experience it offers suggest about contemporary entanglements of perception and representation, body and world, the individual here-and-now and a global everywhere-at-once?

The PDF contains a link to an open access 3D Digital Model of the Hunt-Lenox Globe of c. 1510, one of the earliest globes to show the New World, and one of the treasures of the New York Public Library. The model is rotatable, zoomable, measurable, and annotatable.

The model was created with financial support from the Samuel H. Kress Foundation by a team from the Lazarus Project and the University of Rochester, namely Josh Romphf, Chet Van Duzer, Gregory Heyworth, Ken Boydston, Famous Clark, and Elias Neuman Donihue; in close collaboration from the NYPL, particularly Matt Knutzen, Michael Inman, Meredith Mann, Ted Teodoro, and Jessica Pigza.

November 20, 2019 – Arezzo - Tuscany - On the occasion of the commemoration of 500
years Leonardo da Vinci and the celebrations of Leonardo „De Divina Proportione“ in the territories of Arezzo, Prof. Stefaan Missinne, Fellow of the Royal Geographical Society and Da Vinci expert will present in Italian the scientific
evidence on the discovery of the da Vinci Globe published in 2018 by Cambridge Scholars Publishing
(www.cambridgescholars.com). The title of the lecture is: Il Mappamondo di Leonardo da Vinci del 1504. (The Leonardo da Vinci Globe from 1504). It will start at 17:00 and take place at the Accademia Petrarca di Lettere Arti e Scienze Via dell´Orto 28 in Arezzo. The inviting organisers are the MUMEC, Museo dei Mezzi di Comunicazione and the Academy Petrarca. Free entry.

It will be followed by a wine tasting of the Cantina Villa La Ripa di Arezzo. https://www.villalaripa.it/en/index/

https://it.m.wikipedia.org/wiki/Globo_Da_Vinci
https://en.m.wikipedia.org/wiki/Science_and_inventions_of_Leonardo_da_Vinci
https://it.m.wikipedia.org/wiki/Accademia_Petrarca_di_lettere,_arti_e_scienze
http://www.museocomunicazione.it/

SPUI25 are hosting an event on October 31st in Amsterdam at 20.00 with Prof. Stefaan Missinne,  Fellow of the Royal Geographical Society, da Vinci expert, and author of The Da Vinci Globe. Published recently by Cambridge Scholars, the book brings the reader along a fabulous journey of scholars, maps, and riddles, to present painstaking evidence that one of the world’s earliest known globes – found after a chance discovery at a London map fair in 2012 – was in fact crafted by Leonardo da Vinci.


https://www.spui25.nl/gedeelde-content/evenementen/evenementen/2019/10/de-wereldbol-van-leonardo-da-vinci.html

https://cambridgescholarsblog.wordpress.com/2019/10/08/event-in-amsterdam-the-da-vinci-globe/

In antiquity, precession was a very novel feature. It is for this reason that the Alexandrine astronomer Claudius Ptolemaeus (second century AD) presented a description of a relevant demonstration model, the so-called precession globe, in his Almagest. Before 1500 only one precession globe is extant. However, the interest in precession globes increased in modern times. This paper examines a number of designs in globe making which take precession into account.

This paper examines the impact in globe making of the change from a Ptolemaic to a Copernican world view. Next to showing a map of the Earth and the Heavens, in the past the main use of globes has been to demonstrate the natural phenomena as these are observed from a geocentric perspective. In the second half of the eighteenth century some belated attempts were made to construct so-called Copernican globes for this purpose. This late response did not stop the production and use of the common Ptolemaic globe. It is argued that the technological developments of the nineteenth century made the role of the globe as a demonstration model superfluous and thus did more to the downfall of the common Ptolemaic globe than any revolution in science did.

I started this paper for another text entirely, but was asked to read a text entitled "America's Birth Certificate" which I found to be written from a position of preconception, containing spurious measurements and it decided a set of Globe Gores was for a globe when they are patently not. Having informed the original author of the problems, and been rejected i decided I must publish my findings as so many gullible people appear to have endorsed this new text. Thus this is an essay not a full on research paper as I do not have the time at present. Go to website for good views.

Throughout the early modern period, the intellectual and symbolic value of globes ensured these objects enjoyed a broad cultural appeal. Consequently, their design was subject to a wide range of social, commercial and intellectual pressures. The ways in which the intellectual and cultural concerns of seventeenth-century England became manifest in the cartographic design, resulting in a culturally specific product with broad appeal to an English audience, are highlighted in the case of a terrestrial globe constructed by Robert Morden, William Berry and Philip Lea, c.1683−1690, now in the Whipple Museum, Cambridge. Since this particular globe was produced at an early stage in the history of English globe making, light is shed on the emergence of a national globe-making tradition.

Globen und ihre Gestelle gehören unzweifelhaft als Einheit zusammen. Während der älteste erhaltene Erdglobus, der sogenannte Behaim-Globus von 1492/94 häufig im Mittelpunkt der Forschung stand, blieb das wissenschaftliche Interesse an seinem Gestell bisher aus. Der Beitrag widmet sich der Konstruktion und des kulturhistorischen Kontexts des geschmiedeten Gestells des Globus.
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Globes and their frames undoubtedly belong together as a unit. While the oldest preserved earth globe, the so-called Behaim globe from 1492/94, was often in the focus of research, the scientific interest has not yet been shown to its frame. This article is dedicated to the construction and the cultural-historical context of the forged frame of the globe.

Der älteste erhaltene Erdglobus, der sogenannte Behaim-Globus aus dem Jahre 1492/94 zeigt das Weltbild noch ohne Amerika. Während der Erdglobus mit seinem Kartenbild und seinen Bildern und Texten häufig Gegenstand der Forschung war, blieb diese Aufmerksamkeit dem Gestell des Behaim-Globus verwehrt. Der Beitrag widmet sich erstmals dem eisernen Gestell des Globus. Kunsttechnologische Untersuchungen von Gestell und Horizontring werden mit historischen Quellen abgeglichen und kontextualisiert.

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The oldest preserved earth globe, the so-called Behaim globe from 1492/94 still shows the image of the world without America. While the earth globe with its map, pictures and texts was often the subject of research, this attention was denied to the frame of the Behaim globe. For the first time, this article is focused to the iron frame of the globe. Art-technological investigations of frame and horizon ring are compared with historical sources and contextualized.

Elizabeth’s rages were legendary, and are reflected by the loss of control over letter forms, the erratic pressure pattern, the letter forms which take on an unnecessarily angular formation (as in the double ll’s of "all", and the almost confrontational formation of the letter ‘K’, traditionally a letter showing authority challenges when produced as a misplaced capital). In addition we see many downstrokes produced as ‘thrusts’ onto the page (the photocopy helps to highlight this), together with words which have been deleted by a single decisive stabbing stroke of the pen, indicating her determination and will power. The Queen would make a bad enemy, and it was a brave or a foolish man who crossed her.