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Marcos P. Dias

Kingdom) and Aarhus (in Denmark) (Blast Theory, 2017a ). Blast Theory ( 2017b ) describe it as: ‘a science fiction project that took audiences on a journey into an imagined future’. They worked collaboratively with the communities in both cities ‘to develop a speculative vision of the world in 2097’ (Blast Theory, 2017b ). They included feedback from both residents and experts in several areas of knowledge pertaining to the future, including ‘futurologists, technologists and climate scientists’ (Blast Theory, 2017b ). Feedback from the experts was used to define the

in The machinic city
Open Access (free)
Mapping times
Alex Gekker, Sam Hind, Sybille Lammes, Chris Perkins, and Clancy Wilmott

designed to cater to temporal desires: ‘slidable’ Google Street View images, ‘dynamic’ in-train maps and ‘rapid response’ crisis management tools. These digital mapping transformations are no longer merely possible, they are to be expected. Far from the science fiction of Back to the Future, they are mere technological facts. Some have tentatively called this emergent landscape the ‘post-digital’ (Andersen, Cox and Papadopolous, 2014; Berry and Dieter, 2015), not only to account for the truism that digital software, platforms, apps and services comprise ‘the everyday

in Time for mapping
Border figures of the fantastic
Patricia García

Gautier, Edgar Allan Poe, Guy de Maupassant, H.P. Lovecraft, Jorge Luis Borges and Julio Cortázar, with canonical novels of the fantastic including The Castle of Otranto by Horace Walpole, Mary Shelley's Frankenstein , Bram Stoker's Dracula and Shirley Jackson's The Haunting of Hill House , to name but a representative few. In contrast to the all-inclusive North American paradigm of the fantastic as an umbrella term for any deviation from realism, with a scope that includes myths, fairy tales, magical realism and science fiction, European theorists such as Pierre

in Border images, border narratives