Round Table discussions of various topics related to Digital Scholarship, facilitated by faculty with experience in the table topic

Afinoguénova, Eugenia

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epublications@Marquette

Eugenia Afinoguenova   Trends “Cartographic turn” in social sciences, humanities, and arts Cartographic thought and writing Cartography of writing Mapping uncertainty: “Capta” and humanistic graphical display Intersections of time and space VR Participatory mapping, Community mapping My project: travel literature as a space/time capsule  Uses: what research questions may be answered cartographically?             Atlas Obscura's Guide to Literary Road Trips Richard Kreitner and Steven Melendez   http://www.atlasobscura.com/articles/the-obsessively-detailed-map-of-american-literatures-most-epic-road-trips  also non-literary VR: http://www.atlasobscura.com/vr  World Literary Atlas Elizabeth Breil and Pablo Santiago  http://www.worldliteraryatlas.com/  Republic of Letters http://web.stanford.edu/group/toolingup/rplviz/rplviz.swf  ORBIS: The Stanford Geospatial Network Model of the Roman World Elijah Meeks and Karl Grossner  http://orbis.stanford.edu/ Mapping uncertainty Drucker, Johanna. “Humanities Approaches to Graphical Display,” Digital Humanities Quarterly, Winter 2011 (15.1),P. 46 http://digitalhumanities.org/dhq/vol/5/1/000091/000091.html  A LITERARY ATLAS OF EUROPE http://www.literaturatlas.eu/?lang=en http://www.literaturatlas.eu/en/2014/01/09/traume-sehnsuchte-erinnerungen-uber-die-darstellung-der-dimensionen-projizierter-orte-in-fiktionen/ http://www.literaturatlas.eu/files/2013/01/Reuschel_Modelling_uncertain_Geodata.pdf   1. Triggering devices: How and from where is the spatial projection triggered (via a map, a picture, an object, another place, a person, a word, a text etc.)? 2. In what way is the projected space left, what dissolves it? (The opposite of the triggering moment). 3. Is the transition from actual setting to projected space a deliberate process or an unconscious one? 4. Mode and Function change: Does the projected place become a setting or has it been a setting before? 5. Genuine rules of the projected spaces: Do the same rules than in settings apply or does the projected space work according to different rules (Example: Are the common rules of our physical world still valid or can characters move through walls, walk on the ceilings...? 6. Is the projected space (theoretically) accessible or is it a pure invention, an unlocatable place?  Barbara Piatti, Anne-Kathrin Reuschel, Lorenz Hurni, “Dreams, Longings, Memories – Visualising the Dimension of Projected Spaces in Fiction,” 3-4    AVAILABLE MAPPING TOOLS • https://storymap.knightlab.com/ • Neatline (www.neatline.org), a plug-in for Omeka, looks good, has great reviews and a free module, http://sandbox.neatline.org/webservice/nl-admin/afinoguenova/editor/travel • MapStory (www. http://mapstory.org ) is a free public environment for placing thematic dynamic maps. • Geostories, by National Geographic, http://www.geostories.org/portal/index,  is a commercial platform, but it gives a great example how spatial storytelling could look • Templates for storytelling with maps, mostly using ArcGIS, can be found here http://storymaps.esri.com/templategallery/. • Other mapping programs, similar to ArcGIS, are Maptitude (http://www.caliper.com/Maptitude/MaptitudeCreateExample.htm ) and MapInfo (http://www.pbinsight.com/welcome/mapinfo). MapInfo has a free trial module.      

Mapping

https://epublications.marquette.edu/cgi/viewcontent.cgi?article=1004&amp;context=digischol

Mapping

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