地圖學在傳統及本質上便具有多重的角色及辯證。自Harley「解構地圖」概念提出後，其利用Derrida文本修辭 (text rhetoric) 以及Foucault的知識權力 (power knowledge)，將地圖視為由約定成俗符號系統所建構的權力表徵，而非傳統真實世界的呈現，此概念除了使傳統地圖學的專業本體論 (ontology) 遭受強烈質疑，更開啟地圖學理論新的方向，導出批判地圖學 (critical cartography) 的概念，由社會和文化角度對傳統地圖學進行反思，意圖觀察傳統地圖學中不可見部分。在製圖行為的快速變遷之下，透過一般民眾和藝術家對地圖的應用，證明地圖並非一種專業技術下的產物，而是一種在特殊時間、空間、文化下，沒有固定本體論且個體發生 (ontogenesis) 的實踐 (practice) 過程，並可依循著某一脈絡短暫產生，用以連結社會或文化，並透過實踐解決空間問題。

Unlike its original, traditional concepts, modern Cartography ceased to be just a representation of the physical world. Nowadays the map is no longer being seen as simply a product of a certain set of professional skill. It has become a process of practice that is ontogenesis, without a fixed ontology, and can occur in any time/space/culture through any discourse in a flash. Such practice and concept are originated from the arguments about the professional ontology of traditional Cartography. Cartography always has multiple roles and dialectics. Under the influence of the rapid transformation of map-making behaviors and recent philosophical analysis, these practice and concept is born and a new direction appears. To be more specific, Harley’s Deconstructing the Map set everything in motion: He used Derridean text rhetoric, Foucault’s power knowledge to see the map as a showcase of power constructed with common system of symbols. This means contemporary map can be used to form links between cultures or societies, then solve problems with spatial practice.