The givenness of fluidity
In its simplest terms, digital mapping involves the digitisation of either preexisting maps or the tracing and measuring of orthophotographic imagery. The
latter refer to the use of geometrically corrected aerial photography as the
basis for mapping, rather than using the traditional symbolic representations.
Dissemination of imagery through services such as Google Maps has encouraged everyday utilisation of such data. In either case, the result is a set of
spatio-temporally indexed digitaldata, which allows locations to be recorded
(2018), which reflects on the issue of the digitaldata that we produce outliving us; and second, through its ability to speculate on future urban scenarios that artist Liam Young (in Griffiths, 2015 ) describes as an ‘exaggerated present’. To illustrate these affordances, I talk about my participation in User Not Found and also describe a series of projects by Liam Young, who describes himself as a speculative architect. I also analyse the importance of the concept of collaboration towards generating future machines by describing 2097: We Made Ourselves Over
( 2017 ) ‘ Introducing location and dislocation: Global geographies of digitaldata ’, Imaginations , 8 ( 2 ): 4–7 .
Kurzweil , R.
( 2005 ) The Singularity Is Near: When Humans Transcend Biology . New York : Viking .
Lambert , L.
need to make one day in relation to the fragmented assemblage of digitaldata that acts as the virtual reflection of ourselves. The participant to my right (one of the theatre practitioners) expresses her disappointment with the sudden deletion of Luka’s digital legacy, but also states that the narrative was very good and that she enjoyed the performance. The way in which the narrative is structured into scenes (or acts) is reminiscent of traditional theatre, and Terry’s interpellations (comparing the characters in the narrative to participants), weren’t blatant or