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Open Access (free)
Digital photography and cartography in Wolfgang Weileder’s Atlas
Rachel Wells

-scaled, and which, in unmasking the distractions of instantaneous creative images, offers unsentimental reference points for locating our own spatio-temporal condition. 136 Stitching memories Notes 1 Aspects of this chapter were published in Wells (2013b). 2 Nanna Verhoeff has suggested that mobile digital cartography enables a shift from the representation to the performance of space. She notes that in the process, the potential pitfalls of representation are avoided, and the viewer is repositioned as central (Bounegru, 2009). 3 Weileder’s interest in working to a 1

in Time for mapping
The case for practice theory
Matthew Hanchard

theory can open up understandings of the ways in which digital map use anchors, and is anchored by, other socio-temporal practices. In short, this section illustrates that a practice theory of digital maps might be a useful means to understand how digital maps reshape everyday life. Maps as memory Digital maps provide an affordance for new ways of remembering and reconnecting with personal biography. In this example, Sarah, a recently widowed retiree spent a large portion of her life in Africa (several countries), raising her children there while working with her

in Time for mapping
Art and the temporalities of geomedia
Gavin MacDonald

6 Traces, tiles and fleeting moments: art and the temporalities of geomedia Gavin MacDonald Introduction: geomediation in the inhabitable map In this chapter, I discuss ways in which artists have exploited and exposed the temporalities of ‘geomedia’. I am following writers working at the intersection of media studies and geography in using this term to refer to a contemporary complex of technologies, content and practices that involve mapping, remote survey visualisations and the binding of digital information to location via GPS (Thielmann, 2010; Lapenta, 2011

in Time for mapping
A trialogue
Sybille Lammes, Kate McLean and Chris Perkins

smells Sybille: Kate: And what about memory? Because when a participant creates a Chris: 60 Ephemerality/mobility tour, the temporal and spatial story  surely  must be anchored to memories of smells and associated meanings? So is that another ­temporal dimension you’re working Yes. But Yes – can the history of with? I wouldn’t call that a history, almost anyone’s life be it’s more like a meshwork of mapped out in your pracmultiple moments of time. tice? Because surely how The past is living on in the they have learnt to smell present, but not the whole influences

in Time for mapping
Open Access (free)
Mapping times
Alex Gekker, Sam Hind, Sybille Lammes, Chris Perkins and Clancy Wilmott

subscription to import up to 2,500 addresses and overlay historical traffic data, it now only needs a download installer and a licence key. While these differences are superficially ones of cost, access and ­availability – between $400 and nothing at all – they are also indicative of temporal shifts in data acquisition, download speed, bandwidth capacity and user experience, as computer processing power, memory and storage have dramatically improved. Arguably, then, we are moving into another distinctive phase of digital life, characterised by ever-more novel functions

in Time for mapping
Exploring the real-time smart city dashboard
Michiel de Lange

encoding/decoding of digital information in bits and bytes occurs in discrete units, for example the sampling rate (time slice) and the bit rate (resolution) in encoding digital music. Time frames are also involved in the From real-time city to asynchronicity 243 algorithmic p­ rocessing of information. Any digital processing involves latencies incurred by among others memory buffering, CPU scheduling and process interrupts. Zero-latency is always an approximation. Furthermore, the actual visualisation can be temporally framed, for example the number of frames per

in Time for mapping
Joe Gerlach

geodesic coordinates; namely the marker of where the mapping took place. Known colloquially as ‘electronic breadcrumbs’, they are the spectral remains of cartographic toil, pseudo-memories and digital inscriptions of an event and its lines, but more Nodes, ways and relations 31 importantly, the knitting together of abstraction and experience; a nod to the interstitial space-times of cartography and the crumbling ontological s­ eparation of the world and its representation. Some of the traces also signal failure: GPS calibration malfunctions, random lines generated

in Time for mapping
Considerations and consequences
Thomas Sutherland

of flows seems to take on a particular urgency in an age when the solidity and permanence of traditional socio-political structures upon which we have usually depended seems to be melting away in the furious creative destruction of neoliberal, globalised, digital capitalism. We might also connect it to changing patterns of representation engendered by new, ubiquitous forms of media – as Robert Hassan (2012: 179) writes: [t]he words we now interface with in social networking, in our news reading, in our working days and, above all, in our education are fluxual

in Time for mapping