Shivdeep Grewal

, European novels and other relevant texts are looked at, both as descriptions and embodiments of the Zeitgeist – in them are discerned ‘cartographies of disenchantment’, vying accounts of the causes, consequences and agents of rationalisation. Habermas’s Frankfurt School predecessor Leo Lowenthal engaged in a comparable exercise, though with an orientation to social, rather than cultural, modernity. Löwenthal’s studies of drama and fiction in the nineteenth century served to show in detail that the

in Habermas and European integration
Douglas Fordham

between a satire’s immediate geopolitical claims (protecting and extending Britain’s territorial holdings) and visual metaphors that work against those claims constitute a puzzling phenomenon that I will term the cartographic unconscious. Many of the prints examined here exhibit a complete disregard for the location, strategic value or anything else that the public might know about distant territories

in Exhibiting the empire
Shivdeep Grewal

7 Cartographies of disenchantment I do not believe there is a single Nietzscheanism. Plainly, our makeup is not only linear, but also cyclical. —Foucault, 19821 —Jünger, 19832 Nietzsche’s influence is especially discernable along continua i and ii of figure 7.1. In comparison with the neoconservatives of the previous chapter, the ‘neo-Nietzscheans’ of the pages that follow are tendentious and varied, often disavowing liberal democracy in favour of esoteric or populist causes. Table 7.1 (overleaf) brings a selection of neo-Nietzscheans together with the

in Habermas and European Integration (second edition)
Open Access (free)
The Tyranny of the Cityscape in James Baldwin’s Intimate Cartographies
Emma Cleary

The skyline of New York projects a dominant presence in the works of James Baldwin—even those set elsewhere. This essay analyzes the socio-spatial relationships and cognitive maps delineated in Baldwin’s writing, and suggests that some of the most compelling and intense portrayals of New York’s psychogeographic landscape vibrate Baldwin’s text. In The Price of the Ticket (1985), Baldwin’s highly personalized accounts of growing up in Harlem and living in New York map the socio-spatial relationships at play in domestic, street, and blended urban spaces, particularly in the title essay, “Dark Days,” and “Here Be Dragons.” Baldwin’s third novel, Another Country (1962), outlines a multistriated vision of New York City; its occupants traverse the cold urban territory and struggle beneath the jagged silhouette of skyscrapers. This essay examines the ways in which Baldwin composes the urban scene in these works through complex image schemas and intricate geometries, the city’s levels, planes, and perspectives directing the movements of its citizens. Further, I argue that Baldwin’s dynamic use of visual rhythms, light, and sound in his depiction of black life in the city, creates a vivid cartography of New York’s psychogeographic terrain. This essay connects Baldwin’s mappings of Harlem to an imbricated visual and sonic conception of urban subjectivity, that is, how the subject is constructed through a simultaneous and synaesthetic visual/scopic and aural/sonic relation to the city, with a focus on the movement of the body through city space.

James Baldwin Review
Tim Robinson, culture and environment

Unfolding Irish landscapes offers a comprehensive and sustained study of the work of cartographer, landscape writer and visual artist Tim Robinson. The visual texts and multi-genre essays included in this book, from leading international scholars in Irish Studies, geography, ecology, environmental humanities, literature and visual culture, explore Robinson’s writing, map-making and art. Robinson’s work continues to garner significant attention not only in Ireland, but also in the United Kingdom, Europe and North America, particularly with the recent celebration of the twenty-fifth anniversary of his monumental Stones of Aran: pilgrimage. Robert Macfarlane has described Robinson’s work in Ireland as ‘one of the most sustained, intensive and imaginative studies of a landscape that has ever been carried out’. It is difficult to separate Robinson the figure from his work and the places he surveys in Ireland – they are intertextual and interconnected. This volume explores some of these characteristics for both general and expert readers alike. As individual studies, the essays in this collection demonstrate disciplinary expertise. As parts of a cohesive project, they form a collective overview of the imaginative sensibility and artistic dexterity of Robinson’s cultural and geographical achievements in Ireland. By navigating Robinson’s method of ambulation through his prose and visual creations, this book examines topics ranging from the politics of cartography and map-making as visual art forms to the cultural and environmental dimensions of writing about landscapes.

Joe Gerlach

2 Nodes, ways and relations Joe Gerlach Here, now Maps, mappings, cartographies; (dis)orientations for the everyday, obdurate disciplinary motifs of and for geography, maligned and admired in variable measure. Cartography; a science and set of practices once pertaining to sovereign power alone, yet now increasingly diffuse in its geographic reach and performance. Nonetheless, whether rendered through hegemonic, quotidian or hybrid assemblages, mapping remains resolutely (geo)political at a range of disparate registers; statist to somatic. Elsewhere, I have used

in Time for mapping
The case for practice theory
Matthew Hanchard

7 Digital maps and anchored time: the case for practice theory Matthew Hanchard Introduction Digital maps are increasingly embedded within everyday practices, from choosing a holiday destination to gaining directions to a bar. As hypermediate and remediate forms (Bolter and Grusin, 2000), they are situated within a complex array of connected technologies: web mapping services output digital cartography via popular web map engines like Google and Bing Maps which, in turn, sit embedded on websites. Meanwhile, location-based services allow users to check in almost

in Time for mapping
Open Access (free)
Tuur Driesser

. Maps as objects 225 From critical to object-oriented cartography The critical cartography which arose in the 1990s (Crampton and Krygier, 2006) approach maps as texts (Harley, 1989), sign systems (Wood, 1993) and social constructions (Crampton, 2001). In response to the dominance of the communication model, which thought of maps purely as neutral tools to convey geographical information, critical cartography sought to demonstrate how these representations were in fact bound up with politics of power and knowledge. Thus, building on Foucault and Derrida (Harley, 1989

in Time for mapping
Open Access (free)
Cartographic temporalities

The digital era has brought about huge transformations in the map itself, which to date have been largely conceptualised in spatial terms. The emergence of novel objects, forms, processes and approaches in the digital era has, however, posed a swathe of new, pressing questions about the temporality of digital maps and contemporary mapping practices, and in spite of its implicit spatiality, digital mapping is strongly grounded in time. In this peer-reviewed collection we bring time back into the map, taking up Doreen Massey's critical concern for 'ongoing stories' in the world, but asking how mapping continues to wrestle with the difficulty of enrolling time into these narratives, often seeking to ‘freeze’ and ‘fix’ the world, in lieu of being able to, in some way, represent, document or capture dynamic phenomena. This collection examines how these processes are impacted by digital cartographic technologies that, arguably, have disrupted our understanding of time as much as they have provided coherence. The book consists of twelve chapters that address different kinds of digital mapping practice and analyse these in relation to temporality. Cases discussed range from locative art projects, OpenStreetMap mapping parties, sensory mapping, Google Street View, visual mapping, smart city dashboards and crisis mapping. Authors from different disciplinary positions consider how a temporal lens might focus attention on different aspects of digital mapping. This kaleidoscopic approach generates a rich plethora for understanding the temporal modes of digital mapping. The interdisciplinary background of the authors allows multiple positions to be developed.

Trevor Barnes

are best interpreted within the pragmatist frame of philosophy as conversation and experimentation. Throughout his career, much of which was completed outside the formal academy, Bunge carried out novel experiments, mobilising new spatial vocabularies to realise geographical edification. Those innovative spatial vocabularies often took the form of maps and cartographic techniques. Maps for him were, in effect, geography’s language, geography’s talk, geography’s conversation – the basis of any geographical story. As Bunge wrote in his doctoral thesis, “the reason

in The power of pragmatism