This book is a printed edition of the Special Issue "Deep Mapping" that was published in Humanities

Deep Mapping and the Corpus of Lake District Writing -- Picturesque Technologies and the Digital Humanities -- Tourists, Travellers, Inhabitants: Variant Digital Literary Geographies -- Walking in the Literary Lakes -- Seeing Sound: Mapping the Lake District's Soundscape -- Digital Cartographies and Personal Geographies: (Re-)Mapping Scafell.

Going beyond current scholarship on the “media city” and the “smart city,” Shannon Mattern argues that our global cities have been mediated and intelligent for millennia. Deep Mapping the Media City advocates for urban media archaeology, a multisensory approach to investigating the material history of networked cities. Mattern explores the material assemblages and infrastructures that have shaped the media city by taking archaeology literally—using techniques like excavation and mapping to discover the modern city’s roots in time. Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

This book explores how we create deep maps, delving into the development of methods and approaches that move beyond standard two-dimensional cartography. Deep mapping offers a more detailed exploration of the world we inhabit. Moving from concept to practice, this book addresses how we make deep maps. It explores what methods are available, what technologies and approaches are favorable when designing deep maps, and what lessons assist the practitioner during their construction. This book aims to create an open-ended way in which to understand complex problems through multiple perspectives, while providing a means to represent the physical properties of the real world and to respond to the needs of contemporary scholarship. With contributions from leading experts in the spatial humanities, chapters focus on the linked layers of quantitative and qualitative data, maps, photographs, images, and sound that offer a dynamic view of past and present worlds. This innovative book is the first to offer these insights on the construction of deep maps. It will be a key point of reference for students and scholars in the digital and spatial humanities, geographers, cartographers, and computer scientists who work on spatiality, sensory experience, and perceptual learning.

"Scholarly study of Great Plains nonfiction writers in the genre of "deep mapping", a genre that weaves together strata of narrative that includes natural history, cultural history, geography, memoir, and inter-textual material"--

Deep maps are finely detailed, multimedia depictions of a place and the people, buildings, objects, flora, and fauna that exist within it and which are inseparable from the activities of everyday life. These depictions may encompass the beliefs, desires, hopes, and fears of residents and help show what ties one place to another. A deep map is a way to engage evidence within its spatio-temporal context and to provide a platform for a spatially-embedded argument. The essays in this book investigate deep mapping and the spatial narratives that stem from it. The authors come from a variety of disciplines: history, religious studies, geography and geographic information science, and computer science. Each applies the concepts of space, time, and place to problems central to an understanding of society and culture, employing deep maps to reveal the confluence of actions and evidence and to trace paths of intellectual exploration by making use of a new creative space that is visual, structurally open, multi-media, and multi-layered.

Lough Boora Sculpture Park has been developed on cutaway bogs. The work reveals how art can help to rebuild a relationship between people, place and non-human others. There is one more creative impulse, an agency that is at the heart of this matter, sphagnum – peat moss. We have collections of moss in glass jars filled with water next to our studio window. Sphagnum grows noticeably taller and denser in this artificial environment. I cannot believe the strength of such a flimsy thing, it can rise above the water as it moves towards the light. On any sunny day numerous small bubbles come out from the translucent leaves. Tiny insects are swimming in and around the plants. Bog lands are not wastelands. Raised bogs are as monumental and significant as redwood forests. Sphagnum is an extraordinary living thing. It is small, fragile but at the same time resilient, never harmful. Always close to water it is absorbent, spongy to walk on. Softness is the essence of the plant. Art can be a response to small things. Use your sensibility to listen to the breath of the bog. Imagine the sight and sound as the spore capsules explode. Feel the energy as the air is filled with an infinity of spores, another cycle begins. Reiko Goto Collins