How isolated was Henry David Thoreau’s romantic withdrawal at Walden? In a visual series created by designer and cartographer Meg Studer on The Distopians, she explores (“re-surveys”) these territories. Building off of Walden or Life in the Woods, this series works outward—from woodlots to fireplaces, from adjacent rails to major markets—to re-construct the domestic consumption patterns, international trade, and nascent infrastructural entanglements of Thoreau’s environment.
These initial diagrams combine Thoreau’s recounting of 1846/47 ice harvests at Walden with commercial records and policy documents, mapping the regional industry and its rail-based network of extraction, storage and glocal consumption. Continue reading