By Charles B. Travis
Preface: summary machine
Part 1: GIS and the electronic humanities
From Lascaux to the ocean of Tranquility
What is a GIS?
GIS and the electronic humanities
2. towards the spatial turn
A short background of Western geographical thought
GIS and the gap of conjecture
3. Writing time and area with GIS: The conquest and mapping of seventeenth-century eire
Period, position, and GIS
Geovisualizing Irish history
Rebellion and conquest in 3D
Surveying the Cromwellian Settlement
William Petty and the Down Survey
From the ballybetagh to the barony
The Books of Survey and Distribution
Database mapping the Books
Visualizing the webs of history
Part 2: Writers, texts, and mapping
4. GIS and the poetic eye
Creating a electronic dinnseanchas
Plotting the poetic eye
5. Modeling and visualizing in GIS: The topological affects of Homer’s Odyssey and Dante’s Inferno on James Joyce’s Ulysses (1922)
Homer and Dante’s topologies
The topologies of Ulysses
Middle of Hell (City of Dis)
Visualizing a “new Inferno in complete sail”
6. Psychogeographical GIS: making a “kaleidoscope built with consciousness,”
Flann O’Brien’s At Swim-Two-Birds (1939)
The novel as city GIS
Spatializing At Swim-Two-Birds
Psychogeographical mapping with GIS
7. Geovisualizing Beckett
Samuel Beckett’s GIStimeline
Beckett’s bottled climates
Bricolage and biography
Part three. towards a humanities GIS
8. The terrae incognitae of humanities GIS
The misplaced mapmaker
The map theater
The geographer’s technology and the storyteller’s paintings
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Additional info for Abstract Machines: Humanities GIS
1 (2011): 20–35. 46 Pavloskaya, “Theorizing with GIS,” 2014. 47 Aitken and Craine, “Affective Geographies and GIScience,” 144. , M. A. Doel and D. B. Clarke, “Giles Deleuze,” in Key Thinkers on Space and Place, eds. P. Hubbard, R. Kitchin, and G. Valentine (London: Sage, 2006), 104. 49 N. Chrisman, “Full Circle: More than Just Social Implications of GIS,” Cartographica, 40, no. 4 (2005): 28. 50 Harley, “Deconstructing the Map,” 11. 51 W. Cartwright, “Applying the Theatre Metaphor to Integrated Media for Depicting Geography,” The Cartographic Journal, 46, no.
G. Eliot (London: Verso, 2005), 46. 20 C. O. Sauer, The Morphology of Landscape (University of California Publications in Geography, 1925), 36. 21 H. Lefebvre, Critique of Everyday Life, vol. 1, Introduction, trans. J. Moore (London: Verso, 1992), 46. 22 Pickles, A History of Spaces, 54. 23 Thacker and Brooker, Geographies of Modernism, 1. 24 R. Barthes, Image: Music: Text, trans. S. Heath (Glasgow: Fontana, 1982), 146. 25 Harley, “Deconstructing the Map,” 7–8. 26 J. E. Dobson, “The Geographical Revolution: A Retrospective on the Age of Automated Geography,” The Professional Geographer, 45 (1982): 431.
33 By placing historical and cultural exegesis more explicitly in space and time, GIS can identify patterns, facilitate comparisons, enhance perspectives, and visualize data in any number of ways. Currently, humanities-influenced methodologies are taking GIS technology beyond the limits imposed by positivism. Examples include “deep-mapping” techniques and approaches that engage oral cultures and storyscapes, detect semiotic traces on landscapes, and provide experiential interfaces with virtual data and immersive geospatial environments.