Inside the Provincial Archaeology Office's theory that Europeans inhabited Labrador before Innu – The Independent

Archaeologist Stephen Loring, whose work is being disputed by the provincial government, says archaeology is “wildly political” and can be misinterpreted “to promote a political agenda like land claim...

theindependent.ca

Between 1950 and 2022, industrial fleets decimated fisheries in one North Atlantic archipelago by overfishing

Industrial fishing ships dumped about 80,000 metric tons of fish back into the ocean in the waters of Saint Pierre and Miquelon, a French territory near Canada,

downtoearth.org.in

Mapping the Ropewalk: A Vanished Building Type Online - Global Maritime History

Christy Anderson is a professor at the University of Toronto, jointly in Art History and the Daniels Faculty of Architecture. These days she works on ships as architecture, including the ropewalks that rigged the world’s fleets. Her current project, Age of Rope, follows these buildings and their workers across the early modern Atlantic and Mediterranean.   Nica Fleming (BA, University of Toronto, 2026) has a specialist degree in Art History and a minor in Geography. Her primary area of interest is architectural history. She loves discovering connections between stylistic movements and is fascinated by representations of architecture in other mediums. Nica plans to continue exploring the ties between art, architecture, geography, and cultural context.   Ropewalks — the long, narrow buildings and spaces where rope was manufactured for maritime use — were once found in every port town. Every sailing ship that crossed an ocean before the twentieth century carried miles of rope, and every length of that rope was made in a ropewalk. Today most ropewalks are lost, now only recognized in the street names where they once stood. This blog post describes the building of a digital platform for the research project Age of Rope, led by Professor Christy Anderson (University of Toronto), a study of the architecture, agriculture, and labour of ropemaking. We discuss the choice of an online mapping platform, the presentation of primary research in a public-facing and open-access format, the collaboration between faculty and student research assistants, and future plans for the larger and ongoing project. The history of rope must be pieced together from scattered sources: buildings that have mostly vanished, agricultural landscapes that have been transformed, and production knowledge that was rarely written down. A project with this many moving parts — industrial heritage, agricultural and environmental history, maritime history, the history of techniques, architectural history — is best suited for a team of researchers. Each strand opens a different point of entry for students, and each topic gives them a chance to develop research and public humanities skills they can carry into their own work. Nica Fleming, an undergraduate student at the University of Toronto, began work for Christy Anderson in the summer of 2025, compiling a database of ropewalks by gathering images, bibliography, and location data for each. Nica started by researching extant and well-known naval ropewalks such as those at Chatham, Rochefort, Boston, and Venice. The challenge, however, was to reconstruct what could be known about lost or smaller scale industrial spaces. There is no single history of the ropewalk as a building type and therefore the research required initiative and creativity. Nica used a variety of dispersed primary and secondary sources, including heritage site registries, fire insurance plans, and municipal history societies to find information on lesser known sites. That information was collected in a database with categories on location, dates, materials, structural type, length, and so on. Then, Nica mapped the ropewalks found so far using ArcGIS. In order to present a story about the importance of ropemaking spaces, we uploaded our maps onto an online platform called ArcGIS StoryMaps. StoryMaps is a readily-available website-builder for creating multi-media narratives based on maps, combining geographical locations with text, pictures, videos, and more. Why did we decide to map these buildings? The argument we wanted to make was geographical before it was architectural: that rope production was not a specialist or marginal industry but one woven into the fabric of every maritime economy, present in every port town and many places beyond the coast. A list of sites, or even a set of case-study essays, could not make that argument as directly as a map. When a reader sees a multitude of points distributed across the Atlantic and Mediterranean (the focus of this first phase of research) the density and spread of the industry becomes immediately visible. The map is not an illustration of the argument; it is the argument. The form also suits the material. Ropewalks are a distributed archive, scattered across coastlines and inland fields from the Mediterranean to North America, and no single museum or monograph holds them in one place. A map can, and our map is the first one to bring these dispersed structures together. A map of many points is a starting argument, not a complete one. Knowing where ropewalks were tells you something, but it does not tell you what they looked like, who built them, who worked in them, or what happened to them. We needed a way to move between the scale of the whole and the scale of the particular — a single building, a specific labour system, a documented fire or demolition. ArcGIS StoryMaps lets us combine the map with text, images, and archival sources in one platform, offering a narrative path through our data. The StoryMap also gives us an honest way to represent what we do not yet know: the map has gaps, and the gaps are visible, which is itself a form of argument about where research still needs to go. Two principles guided the design of the StoryMap, both drawn from Telling Stories with Maps, (Esri, 2025): repetition and atmosphere. Nica writes: I wanted readers to understand the organization without having to think about it, so I used repetition to create a legible structure. Each section (broken into topics: ropemaking, naval ropewalks, ‘cottage’ ropewalks, forms of labour, urban legacies, and present states) uses the same elements — a full-screen map of our data points, a zoom into one case-study ropewalk discussed in relation to the section’s theme, and any subtopics that follow as stand-alone images and text. The rhythm helps viewers know where they are, and lets them focus on the information rather than the structure. I also worked on the visuals: a custom theme that evokes the inside of a “long and low” ropewalk — wooden, dark, dusty — with a light-blue accent and rope icons tying the look to the project’s naval context. As a public humanities project, the Ropewalks: Long and […]

globalmaritimehistory.com