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2.2.4 New emerging hybrid maps    

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Figure 39. One of the maps in the “Feral Atlas” project was led by Anna Tsing from the spatial humanities at Aarhus University and Stanford University in collaboration with artists and ecologists (Tsing et al., 2021). The nodes are embedded into various artistic backgrounds (highlighted in red and black dots) that host relevant content to each theme. Each node can contain tables, poetry, videos, maps, drawings etc. Image credit: Carr et al. (2021).

     The different types of mapping as a method of investigation, analysis, representation and curation are explored to answer sub-research question 2, “What representational, analytical tools and worldviews can help stakeholders (i.e. municipal, practitioners, educators) address RQ1 and SRQ1?” Section 2.3 delves more into detail on how mapping for Urban Seascaping developed for this research.

[95] There are many established and emerging qualitative mapping methods, especially in the field of (urban) geography  such as, Qualitative GIS (Cope and Elwood, 2009), Geo-visualisation (Jung and Anderson, 2017), Deep mapping (Bodenhamer, Corrigan and Harris, 2015), to name a few.

[96] See definition page on Affect.

[97] In retrospect, there is whole new potential in using films (moving images) as a medium and a method of investigation, analysis, curation and production. Films have the ability to involves the viewer from a narrative approach, mirroring human emotional and sensory experience, (such as light, sound, movement etc.) (Troiani and Kahn, 2016). It can also create intimacy between place and observer by overlaying, voices from interviews, maps, and drawings, using films as a medium could have provideed another way of explore this research.

[98] For instance, Rasmus Hjortshøj’s PhD research explores photography as a medium of mapping the landscape-seascape condition (Hjortshøj, 2021).

[99] Feral Atlas is part of Aarhus University Research on the Anthropocene’s (AURA) outreach and collaborative ambitions and is edited and curated by Anna Tsing, Jennifer Deger, Alder Keleman Saxena and Feifei Shou, published by the Digital Repository at Stanford University Press. There are over hundred contributors to this atlas (Tsing et al., 2021).

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In addition to these novel innovations within ocean mapping, there are emerging transdisciplinary hybrid forms of mapping[95] that combine other mediums in order to stimulate different affective and perceptual responses[96], such as films[97], art, photography[98], poetry, or music., These new maps address the importance of visual curation of different mediums to tell an alternative story and as a tool for analysis and projection. An example of such a hybrid map is the Feral Atlas[99] (as shown in Figure 39), which is an online/interactive platform for transdisciplinary research. The map provides “dissemination about how to recognise feral ecologies, that is, ecologies that have been encouraged by human-built infrastructures but which have developed and spread beyond human control” (Tsing et al., 2021). Thus, Feral Atlas is a mapping platform that invites the viewer “to explore the ecological worlds created when nonhuman entities become tangled up with human infrastructure projects” (such as industrial ruins). It contains more than a hundred essays, field reports, videos, poetry, articles, analyses, and artworks by leading natural scientists, humanists and artists creating a playful, political map that hosts nonhuman histories (Tsing et al., 2021). It builds on the interactive potential of the digital medium (such as the website) to offer new ways of analysing, representing and understanding the complexity of the Anthropocene (Tsing et al., 2021; Luong, 2022).

 

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