The Map,the Other and the public visual image

This article explores the connection between Cartography and Otherness, and intersects map and visual studies with the question of racial/ethnic identity. With the aim of making arguments through images, a visual/verbal text is staged to reflect on the ‘Map-Other’ connection in past and present times. Inspired by the epistemological turn from representation towards practice currently experienced within map theory, the article interrogates the various creative ways in which art, advertising, public communication and related fields enable post-representational ways of portraying maps. Public visual images of cartography can be read not only as an exposure of the firm, ideological meaning of maps, but also as illustrations of how maps work as shared, embodied and empowering objects. The treatment of maps as socialised, performed and relational thereby results in an involvement of Others as protagonists rather than subjects.     

Not Just a Jesuit Atlas of China: Qing Imperial Cartography and Its European Connections

In the literature, the ‘Overview Maps of Imperial Territories’ or Huangyu quanlan tu 皇輿全覽圖, is mostly referred to as ‘the Jesuit atlas of China’. The reason is that this early eighteenth-century atlas of all Qing China’s territories plus Korea and Tibet is assumed to have resulted from European missionaries importing European cartographic practices. In this essay, I argue that this view is outdated and can no longer be sustained. By revisiting the background of the missionaries’ involvement in cartographic exchanges between Asia and Europe, the techniques used for surveying Qing territories and the production of the resulting atlases, I show that the mapping project behind the ‘Overview Maps of Imperial Territories’ is best understood as a creative answer to the unique needs of Qing frontier management and imperial control, made possible by the integration, in mensurational and in representational terms, of European and East Asian cartographic practices.     

“Follow the Tree Flowers”: Fugitive Mapping in Beloved

This article attempts to analyse mapping practices at the intersection of geography, black studies and literary studies, in order to reassess the political and pedagogical possibilities of mapping under late capitalism. I turn to Toni Morrison’s novel Beloved to track black cartographic practices otherwise obscured or, as Katherine McKittrick writes, “rendered ungeographic”. The novel offers a hidden and unauthorised archive for the often clandestine geographic practices that make possible fugitivity from the mechanics of “slaveholding agro‐capitalism” and its ongoing legacy. As an unofficial archive of black geographic practice, Morrison’s novel might itself be thought of as a map: a contemporary mode of memorialising the depth of place, relation, and navigation—a depth no two‐dimensional map can accommodate. Finally, this article demonstrates the valuable interventions that black studies and black creative production can make within the subfields of critical cartography and critical geography.     

OpenStreetMap in Israel and Palestine – ‘Game changer’ or reproducer of contested cartographies?

In Israel and Palestine, map-making practices were always entangled with contradictive spatial identities and imbalanced power resources. Although an Israeli narrative has largely dominated the ‘cartographic battlefield’, the latest chapter of this story has not been written yet: collaborative forms of web 2.0 cartographies have restructured power relations in mapping practices and challenged traditional monopolies on map and spatial data production. Thus, we can expect web 2.0 cartographies to be a ‘game changer’ for cartography in Palestine and Israel. In this paper, I review this assumption with the popular example of OpenStreetMap (OSM). Following a mixed methods approach, I comparatively analyze the genesis of OSM in Israel and Palestine. Although nationalist motives do not play a significant role on either side, it turns out that the project is dominated by Israeli and international mappers, whereas Palestinians have hardly contributed to OSM. As a result, social fragmentations and imbalances between Israel and Palestine are largely reproduced through OSM data. Discussing the low involvement of Palestinians, I argue that OSM's ground truth paradigm might be a watershed for participation. Presumably, the project's data are less meaningful in some local contexts than in others. Moreover, the seemingly apolitical approach to map only ‘facts on the ground’ reaffirms present spatio-social order and thus the power relations behind it. Within a Palestinian narrative, however, many aspects of the factual material space might appear not as neutral physical objects but as results of suppression, in which case, any ‘accurate’ spatial representation, such as OSM, becomes objectionable.     

Going beyond the grid: literary mapping as creative reading

Drawing from the importance of narrative inquiry in contemporary geographical reasoning and teaching, this paper focuses on some practices set around the relationship between maps and literature. Reader-generated maps, maps produced starting from the reading of a literary text, are at the core of a reflection on the potentialities of literary mapping in higher education; relating maps and literature in an educational environment, I suggest creative reading and creative mapping as co-constructive practices that are able to guide students in addressing and internalising the complexity of spatial categories. Reflecting on the students’ literary mappings, I focus on the various ways that the literary map contributes to mobilising the space of the text, guiding students in approaching spatial issues from a different (and creative) perspective. Time, point of view and literary trans-scalarity are the key narrative concepts that guide and inform possible inductive ruminations on literary mapping as a learning strategy. Following the core question of “what literary mapping might be and do in the digital age”, I aim to resituate contemporary discussions on literary mapping in an educational environment.     

Mapping the Contours of Race: Griffith Taylor's Zones and Strata Theory

This article explores the ways in which cartography served as a tool to reinforce racial divisions in the context of late nineteenth and early twentieth century race science. Racial and anthropometric mapping was an endeavour in which both European and new world anthropologists and geographers were involved. The focus here is on the work of Thomas Griffith Taylor – regarded as one of the founders of modern geography in Australia – who deployed a number of cartographic techniques to reinforce his racial theorisations. This article explores Taylor's ‘zones and strata’ portrayal of racial evolution, and other geological‐ style maps of racial difference. These representations are investigated from two standpoints. Firstly, Taylor's theories are situated within the wider context of the Victorian tradition of classifying race, a tradition where physical race type was often correlated with moral and intellectual traits, and which was supported by the acceptance of environmental determinism within geographical circles. Secondly, his maps are considered from the perspective that, as J.B. Harley has argued, maps are social texts that contain power and, as such, can be deconstructed. Taylor's cartographic representations resulted from the manipulation of the internal elements of the map text, such as shading and projection, and were supported by the widely held belief that human racial groups could be delineated through physical anthropometry.     

Whose cultural value? Representation,power and creative industries

ABSTRACT

The debate around ‘cultural value’ has become increasingly central to policy debates on arts and creative industries policy over the past ten years and has mostly focused on the articulation and measurement of ‘economic value’, at the expense of other forms of value—cultural, social, aesthetic. This paper’s goal is to counter this prevalent over-simplification by focusing on the mechanisms through which ‘value’ is either allocated or denied to cultural forms and practices by certain groups in particular social contexts. We know that different social groups enjoy different access to the power to bestow value and legitimise aesthetic and cultural practices; yet, questions of power, of symbolic violence and misrecognition rarely have any prominence in cultural policy discourse. This article thus makes a distinctive contribution to creative industry scholarship by tackling this neglected question head on: it calls for a commitment to addressing cultural policy’s blind spot over power and misrecognition, and for what McGuigan (2006: 138) refers to as ‘critique in the public interest’. To achieve this, the article discusses findings of an AHRC-funded project that considered questions of cultural value, power, media representation and misrecognition in relation to a participatory arts project involving the Gypsy and Traveller community in Lincolnshire, England.     

Doing gender and the GeoHumanities – celebrations and intoxications

Abstract

This paper celebrates Gender, Place and Culture’s 25th Anniversary by staging a dialogue of sorts between feminist, queer and trans knowledge projects and the interdisciplinary field of practice based GeoHumanities, in other words creative research practices such as film-making, theatre, creative writing or live art. In embracing the vibrancy of these fields together the paper addresses two much wider issues; firstly, the continued challenges that these knowledge projects face, especially in an era of post-truth and the undermining of expertise, which together risks a reactive retrenchment of academic practices. Secondly, within the GeoHumanities, feminist scholar-practitioners have been leading the way in evolving the critical-political dimensions of these interdisciplinary practices, but as they acknowledge, much more remains to be done to ensure that the critical potential of these doings is realised.

In short, this paper asks, what can/have GeoHumanities ‘doings’ contributed to the challenges of gender based knowledge projects, and further, how can/are the critical questions framed by these knowledge projects evolving GeoHumanities practices? Three large concerns frame discussion of possibilities for mutual learning and advancement; what forms of knowledge count; who can make and legitimate knowledge, and how we might build critical perspectives for the transformations claimed in the name of these practices? As such, the paper honours GPC’s quarter century through a forward looking celebration of exciting scholarly practices that remain committed to the foundational tenants of feminist, trans and queer knowledge projects: namely their ongoing critique and remaking of knowledge hierarchies, academic practices, and the political economies of the academy.     

Mapping the Nation for War: Landscape in Danish Military Cartography 1800–2000

The focus in this article is on the way the post eighteenth-century cartographic turn in military practices developed into a particular military perception of landscape that continues to set the standard of Danish topographical mapping. My argument is that the development of modern topographical maps is the result of a long process of military comprehension and measurement of the terrain in order to conduct field operations. The demand for spatial data for actual or potential military operations had a direct impact on the specifications of maps produced by the military, as landscape representation was adapted to meet operational demands and as lessons learned from war experience were incorporated. In this and other respects, the development of Danish topographical maps in and after the nineteenth century followed the general trend of European military mapping as regards methods and standards.     

Sound maps matter: expanding cartophony

In this article I investigate online sound mapping practices, taking cartophony – the coming together of cartographic and sonic activities – as an important contribution to emerging ways of thinking and practicing mapping. I first develop a typology of approaches to cartophony, before moving on to reveal the normative tendencies of online combinations of sound and mapping through an analysis of three platforms: Freesound; audioBoom; and Radio Aporee. Showing how in different ways each of these platforms supports an approach to sound mapping that favours pinning high fidelity, indexical audio-recordings to a seemingly neutral base layer, I question what is glossed over through this approach, while also considering how visual and sound-based strategies for communicating about places illuminate and resonate with one another. Discussing some more experimental online sound maps, I highlight the value of such projects in their current form, and argue for the continued expansion of cartophonic practice.     

Fixing the territory,a turning point: The paradoxes of the Wichí maps of the Argentine Chaco

Indigenous mapping is a powerful political tool for long-marginalized populations to create visibility and establish land claims. In the case of Argentina, a country that was built on a denial of the presence of Indigenous peoples in the national territory, the emergence of these maps stemming from participatory processes coincided with the recognition of these communities' territorial rights in 1994. However, this mapping of Indigenous territories freezes extremely dynamic and complex socio-spatial realities just as it inflects their representations. In this paper, I reassess the weight and the role that Indigenous cartographic representations play in the evolution of these populations' spatial capital. Paradoxically, they give rise to more contradictions than they clarify. These paradoxes demonstrate the varied relationships different generations maintain with their territory, just as they concern its structure and its cartographic form. Therefore, based on the case of the Wichí of the Argentinian Chaco, this paper contributes to the understanding of contemporary issues of indigeneity by adopting a critical approach to Indigenous cartography. Whereas in Argentina cartographic knowledge is undergoing a process of decolonization, this does not apply to the legal system or to society as a whole.     

Illustrating spatial policies in Europe

The visualisation of spatial policy options through maps and other cartographic illustrations can be very powerful both in the planning process and in communicating the key messages of planning strategies. However, experience from the ‘European Spatial Development Perspective’ (ESDP) shows that visualisation can also be the most difficult aspect in transnational spatial planning processes. This paper explores the potential role of policy maps in communicating spatial policy, and the progress made so far in visualising spatial policies in European spatial planning. It suggests possible reasons for the difficulties on reaching agreement on the form and content of planning policy maps at EU and transnational levels. The paper goes on to discuss theories that might assist in improving performance in the use of cartographic visualisations in European spatial planning. The article concludes by highlighting the need for further research on the communicative potential of cartographic visualisations in European spatial planning.     

Politics of the ‘creative industries’ discourse and its variants

The existing academic debate on creative industries can be summarised as ‘Trojan horse or Rorschach blot’: creative industries working as a neoliberal discourse or producing different effects depending on local context. Arguing that these are two sides of the same coin, this article looks closely at the discourse’s depoliticising and encompassing forces and their interplay on the discourse’s intersection to the broader new economy narrative. The article’s focus is South Korean variants of creative industries discourse. First, the country’s ‘content industries’ discourse served as a Trojan horse for the depoliticising narrative of knowledge economy while boosting the cultural sector discursively and financially. Second, ‘creative economy’ has very recently emerged as the current conservative government’s master economic narrative. This discourse allows the government’s neoliberal economic policies to be further justified while making cultural policy unable to persuasively claim that creativity belongs in the culture’s domain.     

Martin Waldseemüller's Death Date

ABSTRACT

The subject of this article is the first extant topographical engraving of Meteora, the second largest monastic complex in Greece and one of the most spectacular landscapes in the world. This late eighteenth-century print combined cartographic principles with techniques traditionally used in Byzantine painting, which situates it within a broader vernacular Greek cartographic tradition. It can also be considered a mental map of the region as envisaged by eighteenth century monks, as well as a tool for advertising the region and its monasteries at a time of political and financial distress. As with any map, the engraving simultaneously concealed and revealed, masking difficult terrestrial conditions while showing pathways to heaven.     

Theatre Elicitation: developing a potentially child-friendly method with children aged 8–12

ABSTRACT

This article discusses the growing body of literature published in Children Geographies on the importance of involving children in research processes. Inspired by participatory creative methods such as photo elicitation and popular/forum theatre, we have developed a potentially child-friendly tool referred to as Theatre Elicitation (TE). The objective of TE is to use theatre forms as a means of data collection in the context of a negotiated research process. In a pilot project in which we explore TE, children shared their perceptions of happiness. This was inspired by a UNICEF Report [2007. Child Poverty in Perspective: An Overview of Child Well-being in Rich Countries. Innocenti Report Card 7. Florence: UNICEF Innocenti Research Centre] that listed ‘Dutch children’ as the happiest of the world. The focus of this article is the development of TE as an interactive research tool. Insights were gained into the meaning of ‘child-friendly’ research, shifting power relations between children, peers and adults, and how children’s own positioning in lived experiences contextualized concepts such as ‘Dutch children’.     

Teaching creative geovisualization: Imagining the creative in/of GIS

Creative geovisualization is situated at the intersection of geography, arts, and digital humanities with a particular emphasis on visualization and mapping that preserves, represents, and generates more authentic, contextual, and nuanced meanings of space and people with an artistic and humanistic perspective and approach. This is a creative expansion in critical GIS practices and a new alternative to traditionally science-rooted approaches to GIS and mapping. Reflecting the experience of teaching a “creative geovisualization” course in an interdisciplinary curriculum, I demonstrate how critical and creative scholarship with mapping and geovisualization is introduced in the classroom and is illuminated in the students' creative practices. The class encompasses key epistemological and methodological groundings of creative geovisualization—including non-representational theories; critical cartography and GIS; the convergence of geography, arts, and humanities; psychogeography; and qualitative and affective geovisualization. Empirical examples of students' works illustrate the blending of different modes of creative engagements with GIS and geovisualization and specific ways to work with various forms of embodied, relational, interpretive, and expressive geographies. GIS and mapping become creative as they continue evolving in process, and it is time that we deeply (re-)imagine “the creative” in/of GIS in critical GIS pedagogies.     

Between capture and addition: The ontogenesis of cartographic calculation

This paper argues that cartographic calculation can be considered as a form of ‘capture’. It suggests that surveillance narratives, typically used to illustrate sovereign forms of power, can be augmented by other socio-technical approaches. Accordingly, the paper develops the idea of capture from media studies to reframe cartographic calculation in computational terms. In doing so, it engages with work in political and digital geography, arguing that the rise of digital devices, apps, platforms and services have led to the generation of huge volumes of event-based knowledges; with significant implications for the study of the calculation. It subsequently argues that cartographic calculation is not, however, solely composed of calculative practices that simply capture cartographic data, but also necessarily composed of calculative practices that add knowledge into, and proliferate renders of, the world. Two dynamics of this oscillating process – anticipation and correspondence – expose the ontogenetic tendencies of cartographic calculation. The paper draws on the use of a digital protest mapping app to exemplify these forces.     

Making creative industries policy in the real world: differing configurations of the culture-market-state nexus in the UK and South Korea

ABSTRACT

This paper compares creative (content) industries policies in the UK and South Korea, highlighting the coevality in their development. Seeing them as ‘industrial policies’, it focuses on how state intervention is justified and why a certain set of policy options have been chosen. The UK policy-makers prefer passive and decentralised roles of the state that addresses market failures via generic and horizontal policies. Meanwhile, Koreans have consistently believed in the strong, resourceful and ambitious state in developing centralised, sector-specific policies for cultural industries. While demonstrating two contrasting approaches to the nation state’s management of cultural turn in the economy, both cases seem to present a ‘paradox’. Despite its neoliberal undertone, the horizontal and fused approach taken by the UK’s creative industries policy engenders some space for ‘cultural’ policy. On the contrary, the non-liberal and state-driven content industries policy in Korea has shown a stronger tendency of cultural commodification.     

The political subjectivization of Korean creative workers: working and living as urban precariat in creative city Seoul

This study aims to reconsider and re-evaluate the rapid circulation of global creative city policy from the viewpoint of its creative workforce by focusing on the case of Seoul, South Korea. By locating creative workers’ experiences in Korea within the growing scholarship on the precariat, this research not only attempts to fully understand the complexity of labor subjectivities of creative workers but further explores how creative workers can actually become political subjects who can resist their given precarious working and living conditions. By using Jacques Rancière’s concept of ‘political subjectivation’, it attempts to show how creative workers can empower themselves as ‘political subjects’ who strategically disavow their given self-identities as ‘individualized creators’, and through this language they are able to recall the often neglected subjectivity of ‘solidified labor’. In doing so, this research contributes to theoretical insights so that we can better understand what leads to political formation of creative workers.     

Decolonizing cartography and ontological conflict: Counter-mapping in Colombia and “cartographies otherwise”

Discussions in decolonial literature have recently drawn on the concept of “ontological conflict” to reflect on the conflictual entanglements of diverse cosmologies. In Latin America (as elsewhere) these conflicts are frequently of a territorial nature, with indigenous and black communities making claims to communal land rights as indispensable part of their respective ways of being-in-the-world, which the post-colonial state has increasingly begun to acknowledge, often in the form of new political constitutions. In this article I examine the role of cartography in the resolution of such ontological conflicts; in particular a participatory mapping exercise in Colombia known as “social cartography,” which aims to challenge dominant cartographic representations and empowering local communities vis-à-vis the state. At the same time, I reflect on the limits of such an emancipatory vision and on the ways in which Colombia's version of counter-mapping has been coopted by dominant power. Inspired by the Modernity/Coloniality/Decoloniality framework, I contextualize this experience within other radical mapping exercises, or “cartographies otherwise,” in places such as Australia, Palestine and the Straits of Gibraltar, to finally suggest that the art of decolonizing cartography may be seen as a tool of Hardt & Negri's project of a multitude in resistance.