"According to Charles W. Morris, syntactics is the relation between a given sign-vehicle and other sign-vehicles. There is a critical distinction here between Morris's "syntactics" and the linguistic subcategory of "syntax". While syntax puts emphasis on word order and parsing , syntactics is much broader in scope. Syntactics allows for any kind of among-sign relationships. Morris makes this point explicitly in his statement that there are "syntactical problems in the fields of perceptual signs, aesthetic signs, the practical use of signs, and general linguistics."... At least three kinds of sign relationships seem to fall under Morris's umbrella of syntactics . These include: ”the consideration of signs and sign combinations so far as they are subject of syntactical rules” , ”the way in which signs of various classes are combined to form compound signs” , and ”the formal relations of signs to one another” ."

“Two developments of the past four decades played crucial roles in establishing a research agenda for the study of map symbolization and design. The first was Arthur H. Robinson's dissertation , with its call for objective research, and the second was the adoption in the 1970s of a paradigm of cartography as communication science.”

“The nature of maps and of their use in science and society is in the midst of remarkable change - change that is stimulated by a combination of new scientific and societal needs for geo-referenced information and rapidly evolving technologies that can provide that information in innovative ways. A key issue at the heart of this change is the concept of "visualization.”

“Treating cartography as a formal communication system implies that we can improve map communication if we can reduce the filtering or loss of information at various points in the system where in the system should have a positive effect, and an information loss should be impossible to overcome. Most efforts to study cartographic communication have been directed to the middle stages in the system: the cartographer's transformation of selected information into the map and the initial extraction of information from the map by the user.”

“Robinson pointed out some limits to approaching map symbolization and design from a purely artistic viewpoint, as he suggested was the guiding perspective at the time. Maps, like buildings that are designed primarily for artistic impact, are often not functional... Robinson argued that treating maps as art can lead to "arbitrary and capricious" decisions. He saw only two alternatives: either standardize everything so that no confusion can result about the meaning of symbols, or study and analyze characteristics of perception as they apply to maps so that symbolization and design decisions can be based on "objective" rules... Robinson's dissertation, then, signaled the beginning of a more objective approach to map symbolization and design based on testing the effectiveness of alternatives, an approach that followed the positivist model of physical science. In his dissertation, Robinson cited several aspects of cartographic method for which he felt more objective guidelines were required . He also suggested that this objective look at cartographic methods should begin by considering the limitations of human perception. One goal he proposed was identification of the "least practical differences" in map symbols .”

“Cartography is about representation. This statement may seem obvious, but it has been overlooked in our search for organizing principles for the field. Rather than restricting research in cartography to maps that present well-defined messages , attention to maps as spatial representation expands the field.”

“A new view of the role of art and science in cartography is clearly needed. It is probably a mistake to view maps as objects that contain varied amounts of scientific or artistic content for which we must determine an appropriate balance . Instead, it makes more sense to consider complementary artistic and scientific approaches to studying and improving maps, both of which can be applied to any given cartographic problem. The artistic approach is intuitive and holistic, achieving improvements through experience supplemented by critical examination . It draws on science in using perspective, understanding of human vision, color theory, and so on.”