Introduction in Outdoor Advertising

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At present, nearly every media-related subject field appears to be locative, or withthe prefix geo attached, be it the discussion on geoart, geosurveillance, or geocaching.Within this context, recent geographical and phenomenological studies on mobile mediapractices, in particular, reveal a trend toward a revaluation of place and placiality. While

social sciences, media and cultural studies label this re-materialization of place spatialturn, a cultural, humanistic and media turn is acknowledged in geography. Currently,the two converging developments are still marked by differing conceptual formations:locative media and mediated localities. Tis paper as well as this issue are concernedwith both sidesthe spatial turn in media studies and the media turn in geographicalstudiesand provides a sketch of the subject area geomedia from a phenomenologicalperspective and the field of media geography from a dsciplinary perspective. As a theoretical framework for media geography in general and geomedia inparticular, this article favors the actor-network theory for three reasons: a) Te actor-network theory tends to conceptualize places prior to the network of heterogeneous

agents; b) it reveals itself to be a suitable heuristic for locative media as through thegeotagging of objects instead of people, the actor-media theory permits a manifestationof what Bruno Latour means by the Internet of Tings and, c) on the other hand, theactor-network theory puts us in a position whereby mediated localities can be describedas if there is nothing more in the territory than what is in the map. Based on this argument,the conclusion can be drawn that media geography therefore also constitutes a newdiscipline for overcoming the very distinction between physical and human geography.

Thielmann Locative Media and Mediated Localities 1

AetherVol. ., , March Copyright , Te Center for Geographic Studies California State University, Northridge

Locative Media and Mediated

Localities:

An Introduction to Media Geography

T T

University of Siegen
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Everything is related to everything else, but closer things are more closely related.

(Waldo Toblers First Law of Geography, )

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N gets tracked, tagged, and mapped. Cellphones have become location-aware, computer games have moved outside, the Web istagged with geospatial information, and geobrowsers like Google Earth are regarded asan entirely new genre of media (Parks ). Spatial representations have been inflectedby electronic technologies (radar, sonar, gps, Wi-Fi, Bluetooth, rfid, etc.) traditionallyused in mapping, navigation, wayfinding, or location and proximity sensing. We areseeing the rise of a new, location-aware generation. Tis generation is becoming familiarwith the fact that wherever we are on the planet corresponds with a latitude/longitude

coordinate (Varco ). Te term locative media, initially coined by Karlis Kalnins in (see Hemmentb; uters and Varnelis ), seems to be appropriate for digital media applying toreal places, for communication media bound to a location and thus triggering real socialinteractions (Varnelis and Friedberg ). Locative media works on locations and yetmany of its applications are still location-independent in a technical sense. As in thecase of digital media, where the medium itself is not digital but the content is digital,with locative media, the medium itself might not be location-oriented, but the contentis location-oriented.

Te unusual location-based nature of communication in the electronic media, inparticular, is currently leading to a renaissance of cartographic representations, as mapsare often indispensable to locative media in producing an index for the illustration ofspatial relationships. Mapping as the process of creating maps and the transformationof geographical data opens new perspectives for local search operations on the Internet,as well as the physical exploration of space. Te superpositioning of virtual and realspace in augmented reality (Crang and Graham ) or trend games like geocaching(Willis ) serve as an example of this. Can we say that the numerous distributed geotagging platforms and applications

like Flickror Google Latitudeunleashed by this trend have given rise to a new genreof collaborative geocommunities, or what Crampton () calls Maps .? Teincreasing quality and clarity of visualizations of the Earth can be seen to be the commonattribute shared by the rise of mobile communities using ubiquitous geolocationmethodologies, on the one hand, and the rise of less-mobile geocommunities who aresharing mapped information and taking layered visualization to new heights. Tis issue of Aetherhas therefore been split into two sections, one on locativemedia and one on mediated localities. Te reason for this is that the subject area can

be categorized into two types of mapping: annotative (virtually tagging the world) andphenomenological (tracing the action of the subject in the world). Where annotative

Aether: The Journal of Media Geography Spring 20102
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projects seek to demystify (see all the Google Earth hacks), tracing-based projectstypically seek to use high-tech methods to revalue dying everyday practices, such aswalking and occupying public space, or to make mediation and globalization processes

transparent. Te Japanese mobile phone culture, in particular, embraces location-dependent information and context-awareness (Ito, Okabe, and Matsuda ). Inthis culture, technologies appear in mobile, location-aware computing gamessuch as Mogi, which utilize to enable players to see each others locations (seeDrakopoulou ). Most of the location-based games nowadays seem to emphasizecollecting, trading, and meeting over combat. Does this indicate a social trend in mobileentertainment? Tis issue will attempt to give an overview of actual research on thistopic, focusing especially on the ways in which locative media and mediated localitiestackle social and political contexts of production by focusing on social networking,

access, and participatory media content, including storytelling and spatial annotation.

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In the past, stock market crashes like the Asian economic crisis of appear to haveled to frequent predictions by media theoreticians of the end of geography, whether by

Jean Baudrillard (cited in Smith ), Vilm Flusser (cited in Werlen , ), orPaul Virilio ( []); however, it is ironic that this phrase is used more frequentlyby geographers who use the apocalyptic end of geography to describe the threat (totheir own discipline) posed by media technologies (Graham ; Dicken ) and

media studies (Smith ; Miggelbrink ). o date, the current crises, whether the economic crisis or the climate catastrophe,have resulted in a contrasting effectin a renaissance, or, more accurately, a remediationof geography in the form of media geography (Graham , ). Prime examplesof this are the Internet platforms Google Maps and Google Earth. While fictionalpropositions like Google Lively (a Second Life clone) are being discontinued, virtualglobes (Dodge, McDerby, and urner ), digital earths (Roush ; Goodchild), and geobrowsers (Peuquet/Kraak ), which are bound to territoriality basedin reality, are experiencing an unprecedented boom. For example, based on Googlesdata, the number of medially annotated georeferenced locations on the World WideWeb more than tripled during the year from May to May (Hanke ),which is why one can already refer to a as the successor to the in otherwords, an expansion of the Web-based question, who, what, when? to who, what,when, and where? From a historical perspective, the appearance of new media applications hasalways initially resulted in individual media ontologies, which have then been extendedto general media ontologies through the synopsis of several media and the formation

of an independent mediality (Leschke ). It is exactly this genealogy that can nowalso be applied to media geography, which, since the millennium (Trift ), has

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formed from the individual media geographies of art geography (DaCosta Kaufmann), literary geography (Moretti ; Crang ; Piatti et al. ), musicgeography (Krims ; Johansson and Bell ), psychogeography (Coverley

; Self ), film geography (Lukinbeal ; Bruno ; Aitken and Dixon), television geography (Morley ; Rain and Brooker-Gross ; Bollhfer), telegeography (Staple ; eleGeography et seq.), cybergeography(Dodge and Kitchin a, b), Internet geography (Budke, Kanwischer, and Pott), and, finally, Wi-Fi geography (orrens ). o date, however, media geography has become established not as a generalmedia ontology, but as a subdiscipline of human and cultural geography, with a mediageography session at the Annual Conference of American Geographers() and, since, through its own publication, Aether. Te Journal of Media Geography. In this

case media geography acts as a relatively broad term for a geography of [] cinema,television, the Internet, music, art, advertising, newspapers and magazines, video andanimation; however, media geography can be understood as an overall term that not onlyincludes different individual media geographies, but also simultaneously characterizesmedia studies that is changing through the spatial turn, which is rediscovering spatial-and location-related questions (Dring and Tielmann ). Te foundations for such media geography go back a long way. In addition to

media geography, the term communication geography has existed for some time(Abler ; Hillis ; Jansson ). Communication geography is also to be

understood not only as a subdiscipline of geography, but also as a residual categorywithin communication studies (Tielmann ). Te aims of gathering knowledge incommunication geography are to create an inventory of communication infrastructuresand spatial and social disparities. Given this transport-scientific tradition, the geographyof communication can therefore be traced back as far as Friedrich Ratzel (, et seq.), according to Abler (, ); however, closer inspection reveals that mediageographical considerations have an even longer tradition, dating back to . Tey goas far back as the founding father of scientific geography, Carl Ritter, who was alreadythinking about the spatial effects of telegraphy very early on:

It is not only the distances from below to above, but also the spatialdifferences in all directions that are transformed by [] advances in auniversal telegraphy; whether these are newly discovered organs [], orscientific advances, or cultural developments, through which peoples learnto migrate to other areas []. What did not appear to exist at an early pointin time, thus comes into being; what used to be at a great distance and wasnot accessible, now comes closer, even moving into the realms of daily travel.(Ritter ( [], , own translation)

Ritter derives from this, among other things, the requirement for medial changes tocartographic spatial descriptions, for example, through several transparent globular

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disks that slide across each other and can be moved back and forth (ibid., , owntranslation). Media geography, such as it is more than years later, seems to havemoved substantially closer to this research aim. Te time is certainly ripe for a

disciplinary programmatic approach to a media geographical research agenda and notjust a general theoretical locational and spatial observational approach, even though thesubject of researchand this characterizes all the individual media geographiesisdistinguished by a renewal of the significance of place (Hardy ).

L M + M L = G

Pursuant to a critical understanding of media technology, new media have beenassociated with a growing sense of dislocation over a long period of time; however,contrary to the assumption of an erosion of a sense of place (Massey ), more recent

geographical and phenomenological studies on mobile media practices show a trendtoward re-enacting the importance of place and home as both a geo-imaginary andsocio-cultural precept. Tus, to talk about global mobile media today necessitates thediscussion of locality (Hjorth ; see also Yoon ; Butt, Bywater, and Paul ;Varnelis and Friedberg ). While social sciences, media and cultural studies label this re-materialization ofplace spatial turn, a cultural, humanistic and media turn is acknowledged in geography(see Jansson ; Monmonier ). Currently, the two converging developments arestill marked by differing conceptual formations: while geography tries to characterize

the mixing of code, data, and physical place as DigiPlace (Zook and Graham a,b) or cyber place (Wellman ), cultural and media studies refer to location-based media or locative media (Hemment a; uters and Varnelis ); however,the interweaving of both location-based/locative media and cyber/digital places isunderwayunfortunately often in such a manner that the geographical contributionsto the understanding of these keywords are no longer noticed. Tus, this issue concernsboth sidesthe spatial turn in media studies and the media turn in geographicalstudies. A suitable umbrella term for both areaslocative media and mediatedlocalitiesis geomedia (Tielmann ; Manovich and Tielmann ). Tis givesdue consideration to the now broad differentiation into individual media phenomenato which the prefix geo has been attached, be it geoart, geoads, geoweb, geosurveillance(Sui ), geocaching, or geotainment. Tese parallel developments of a spatial turn in media studies and a mediaturn in geography are exemplified, amongst others, in the discussion on GeographicInformation Systems () in general (Knowles ), and historical, temporal andcollaborative in particular (Gregory and Healey ; Dunn ). Is returninggeography to its roots in mapping, description, and empirical science, or are the effects

of geovisualizations and the mass mediatization of online mapping tools and mobilenavigation systems turning geography and media studies into media geography? Te

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following papers try to answer this question by positioning geography and mediaas mutually constituted, as has been formulated as the aim of a media geography byLukinbeal, Craine, and Dittmer (, ).

During this process, both sectionsone on locative media and the otheron mediated localitiesdemonstrate that media geography is characterized by arevaluation of placiality (Casey ): In short, the global telecommunicationsnetwork has not led to the end of geography as much as to the rebirth of place (Staple, ). Furthermore, we are moving into a new a-whereness, in the words of theBritish geographer Nigel Trift (a, ). Tis is demonstrated, in particular, by the essays under the umbrella term locativemedia in Section . Trough the options of tagging and tracking with , Wi-Fi, and (see Rosol ), media become independent from an absolute co-ordinate grid

(Trift a, ), with the result that geomedia sociotechnically reorganize ourhandling of space and place (see Drakopoulou ; Galloway ; Salmond ;Willis ; Yoshida ). In the process, as the essays in Section on mediated localities attempt toshow, the methodological and theoretical interest in re-animating the place of thought(Trift b) can be attributed essentially to three developments:

. Te mass spread of mapping and geocoding in all areas, from local drawingwork (Lommel ) to geotagged messages (Bed ).

. Te rise of locative harnessed networks (Elmer ) and geographicinformation systems, which not only represent sociospatial statisticaldistributions through their geodemographic classifications, but also aremeans by which people sort themselves and thus contribute towards pushingforward a new class system (Burrows and Gane ), a class of amateurs(Crampton ).

. Places themselves have changed their characters (Shepard ). Instead ofa set of fixed points, we are now dealing with places in form of a networkof relations and connections. Places are subject to more and more logisticalmodeling concepts, which, for example, establish an understanding of Cityas Stage, City as Process or describe urban places in the tension between

control space and ludic space (McQuire ).

Geomedia seeks to marry the interests of the online community networking geotaggerswith those of the psychogeographer. Te separation between locative media andmediated localities, between annotative and phenomenological geomedia, will thereforepresumably be almost impossible to maintain in the future. Tis will certainly be thecase when objects of all types fitted with radio tags are incorporated into theInternet. forms part of the Google strategy, pronounced Googles Chief InternetEvangelist Vint Cerf, who simultaneously introduced one of his favorite topics: IPv,the Next Generation Internet Protocol (Boulton ). Te main feature of IPv

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photo was taken. Photo-sharing Web sites such as Picasa provide options for sharingimages on a map of the worldand can utilize the information stored in the images file to pinpoint the spot where the photo was taken.

Dan Catt, senior engineer for Flickr, who says about himself that he introducedgeotagging into the Web sphere in March , announced at the Where .Conference that Flickr will georeference their complete image stock (a sample isvisualized in Crandell et al. ); thus in the near future one will probably not find anypicture and any video on the Web that is not georeferenced. At the same year, Googleannounced a fundamental change in their product policy: the change from Google andMaps to Google on Maps (Ron ), which means that Google Maps and GoogleEarth are to become the platform or basic layer for any kind of information we arelooking for. Maps may thus become a dominant way of interacting with networks. Tis

may, however, constitute only a first step toward the vision that one day it might bepossible to establish -D spaces as a medial interface (Manovich and Tielmann ).

Physical space, when rendered a tool, becomes a metaphor for the network (Gordon, ). While such a tool continues to provide instructions for navigating physicalreality, at the same time, it also always provides a platform on which all data can beplotted. Te combination of mobile devices with positioning technologies is openingmanifold ways in which geographical space can be encountered and drawn. It therebyrepresents a frame through which a wide range of spatial practices that have emerged

since Walter Benjamins urban flneur may be looked upon anew (Kingsbury and Jones). Or are locative media and mediated localities only a new site for old discussionsabout the relationship of consciousness to place and other people? In the early daysof sea travel, it was only the navigator who held such awareness of his exact positionon Earth. What would it mean for us to have as accurate an awareness of space aswe have of time? In order to answer that question, let us have a brief look at how thenature of humankinds relationship to the environment is changing with developmentsin technology such as geomedia.

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Media technology and apocalyptic thinking have always had a close relationship. Forinstance, the invention of the printing press was a key factor in the spread of the

reformation. In addition, the stock market crash of was the starting point forHollywoods Golden Years in the s.

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Based on these interactions between media evolution and political/social/ecologicalrevolution, one could now draw the conclusion that geomedia provide an adequateanswer, a suitable media setting for climate change. Right now, it seems that locativemedia and mediated localities are the cultural afterimages of human-induced naturalhazards. On one hand, in this case, the technological deterministic argumentationstates that the rise of new mapping and tracking technologies provides the possibilitythat anyone can generate data and link it to map-making software in order to createalternative versions (countermappings) of the world. On the other hand, however, theargument can also be made that the democratization of must be understood as aconsequence of cultural requirements. In general, the history of geographic information technologies shows that thesetechnologies are commonly accepted for the production of knowledge of humanpopulations only if there are fears of risks that can be exploited to justify deploymentof mass geosurveillance and data mining (see Crampton ). It is therefore no

coincidence that Googles entry into the realm of spatial information coincided withHurricane Katrina in (see Crutcher and Zook ). Tis is when map mashupsstarted appearing in vast numbers, when Google and other major Web companiesoffered public , and this is what made it possible for others, for instance, to useGoogle Maps as part of a mashup or to create and share placemarks in Google Earth byposting them to a broader geocommunity via online message boards.

Googles strategy has been to react to such contexts by using them, incorporatingthem as a layer into their products, as occurred, for example, with the introductionof My Maps in . It is interesting that the relevance of geomedia to society has

gained in importance in the wake of human-induced catastrophes that are difficult tograsp. Tis also reveals itself in the increased focus of locative media art projects on



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the cultural context of climate change (see Himmelsbach and Volkart ; see theEnvironment . Exhibition at the Futuresonic Festival ). Geomedia obviouslyhave the potential to support us in our understanding and management of natural

phenomena like climate change. Above all, this is due to the fact that geomedia, as is thecase with all indexical media, function as socio-technical graphs, through

. supporting a relativistic instead of a functionalist moral position. taking a local instead of a global perspective. conceptualizing users as individualized actors instead of mass-mediatized

recipients. visualizing the logistics of artifacts. making mediation processes transparent. tracing the actions of actants

In the following, these points will briefly be entered into. Let me start with the first point.Whether or not climate change can be viewed as real is very much a question of graphicrepresentation (see Womack ). Consider, for instance, the famous example from AlGores An Inconvenient Truthshowing a broad-scale correlation between CO levelsand temperature, then compare it to a fine-scale zoom-in of the correlationas seen bya climate-change denier who argues, When you look in detail, change in temperatureprecedes the change in carbon dioxide (Carter ). Both climate change supportersand deniers use the same data, but they come to completely different conclusionsdepending on the scale of their mediation.

What can we learn from this? Since there is no way science and technology can tellus a prioriwhich accounts are meaningful and which are meaningless, it is essential to beable to compare contradictory accounts. It is also the only way to repair the danger ofgiving a functionalist account of programmes and antiprogrammes (Latour, Mauguin,and eil , ). Most people are doing that right now by saying, Whatever is reallygoing on, it cannot be wrong to support the good guys who are worried about the futureof our children.

What is dangerous in a functionalist argument is not the function per se, but

the essentialism that goes with it, and the avoidance of controversies aboutwhat counts as a function. In other words, relativism should redeem the sinsof functionalism. Tis is why it is so essential to be able easily to shift pointsof view. (ibid.)

Te same moral relativism is perpetuated by the definition of the actants. We dontknow what an actant is, apart from the fact that it is mobilized in one version of onenarrative viewed from the point of view of one observer (ibid., ). Te general publicis thus aware of global warming only in the form of the long tail of translation processes

mediated by satellite sensors, analogue-to-digital-converters, code, paper, V stations,etc. In contrast, geomedia put us in a position where we can say something about our

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personal climate change story (see Te EcoMap Labat 'and Te JungfrauClimate Guide application).

It seems strange at first to claim that climate, or to put it in more general terms,

space and time, can be constructed locally, but these are the most common of allconstructions. Te mapping of science as well as of traces is observer-dependent.Tis is important for any socio-technical graph, any logistics of immutable mobiles(Latour , ). racing-based locative media suggest that we can re-embodyourselves as individuals in an anonymous world (uters and Varnelis , ), andmedia art (e.g., demonstrated at the last two International Symposia on Electronic Art)makes the abstraction process visible: how we know what we know about our changingclimate, the transition of graphs from things into signs that come to represent naturalobjects. Tis is, in fact, exactly what locative media art does: tracing the action of an

actant in the world. Tis is thus the sixth and final indication of the way indexical mediafunction (and therefore also how geomedia function). Tis interweaving of indexical and geographical media comes to the fore if youlook at the cultural analytics research environment running on HIPerWall, currentlythe highest-resolution displays in the world. If slides made possible art history, and if amovie projector and video recorder enabled film studies, what new cultural disciplinesmay emerge out of the use of interactive visualization and data analysis of large culturaldata sets? asks Lev Manovich. Media geography might be one answer, as withinthis discipline metadata and digital traces were used to create dynamic (i.e., changing

in time) maps of global cultural developments that reflect activities, aspirations, andcultural preferences of millions of creators (Manovich ), or, to get to the point, tocreate visual landscapes of large areas within media culture (see Manovich and Douglass).

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Along the lines of Bruno Latours thoughts on the consequences of digital traces onsocial and cultural studies, mobile locating techniques are giving software artists thepower to make measurements that are as precise as those in the hard sciences (Anon.). Tus, mapping allows us to show the irrelevance of externalist explanationsof science and the relevance of internalist explanations, where a statement, like climatechange or financial crisis, is said to be accepted because of its own internal value. Te actor-network theory therefore constitutes a theoretical framework for mediageography (see also Dring/Tielmann ), as it tends to conceptualize places priorto the network of heterogeneous agents (Hetherington ; Law and Hetherington). It reveals itself to be a suitable heuristic for this subject area (see Galloway )as, on one hand, the actor-media theory permits the sketching of locative media as a kind

of manifestation of what Bruno Latour means by the Internet of Tings (uters andVarnelis , ): by geotagging objects instead of people and having these objects

http://www.picnicnetwork.org/page/52631/enhttp://www.picnicnetwork.org/page/52631/enhttp://www.picnicnetwork.org/page/52631/enhttp://www.jungfrau-klimaguide.ch/http://www.jungfrau-klimaguide.ch/http://www.flickr.com/photos/silvertje/2516195007/http://lab.softwarestudies.com/2008/09/cultural-analytics.htmlhttp://lab.softwarestudies.com/2008/09/cultural-analytics.htmlhttp://www.flickr.com/photos/silvertje/2516195007/http://www.jungfrau-klimaguide.ch/http://www.jungfrau-klimaguide.ch/http://www.picnicnetwork.org/page/52631/en


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tell us their stories, locative media create an awareness of the genealogy of actants andagencies. On the other hand, the actor-network theory puts us in a position wherebymediated localities can be described as if there were nothing more in the territory than

what is on the mapor, more concisely, using the words of November, Camacho-Hbner, and Latour (): Te territory is the map. Tis provocative title of Latoursmost recent paper, which even had to be changed for publication, nevertheless follows,as does this volume, the virulent media-geographical analysis that digital technologieshave reconfigured the experience of mapping into something else that we wish to calla navigational platform (November, Camacho-Hbner, and Latour ). In addition,media geography also accounts for a new discipline that helps to overcome the verydistinction between physical and human geographies by taking a map navigationally (inwhich case there is no relevant difference between human and non-human) (November,

Camacho-Hbner, and Latour ). Media geography therefore faces a glorious futurepacked full of conflict, which may change the scientific landscape. Let us hope that thisvolume will contribute a first step toward promoting upheaval in the thought processesin disciplinary camps. Tis volume is based on presentations and discussions at the Locative MediaConference, organized by the junior research group Media opographies of theCollaborative Research Center Media Upheavals at the University of Siegen. Teresearch group would like to thank the German Research Foundation () for itsgenerous financial support of this international symposium, held September -, ,

at the Museum of Contemporary Art, Siegen, Germany. Our special thanks go to KeithMcLennan for putting the necessary finishing touches to most of the papers. We are alsoindebted to Philipp Petzinger for completing the essential task of unifying quotationsand bibliographic information. Finally, we would like to thank the Aether editors, ChrisLukinbeal, James Craine, and Jason Dittmer, for making this volume possible.

ESmith () has yet to provide a concrete reference for the Baudrillard citation.Instead of referring to the end of geography, however, Flusser (: , own translation) simply

states, We must expel geography from the center of our visual field in order to understand thehermeneutic quality of telematics.When Virilio ( []) refers to the end of geography, one rarely considers that this

frequently cited hypothesis was formulated within the context of satellite technology, inparticular Earth observation satellites, that lead to a loss of the horizon-line, geographicala-perspectives, and thus a meta-geophysical reality. Virilios concept of metageophysics wasfeatured in his essay Te morphological irruption (Virilio []), thus preempting thediscussion on metageography (Gordon ) and Google Earth.

Google Lively was a -D virtual world social networking site that contained numerous smallspaces, in contrast to Second Life, which contains a coherent virtual world. Tis Google stand-

alone product made no innate connection to Google Earth or Maps; however, it is interesting

to note that only a few days after the launch of Lively, numerous Google Maps mashups werecreated to localize the Lively spaces and connect them to each other (Clarke ; aylor ).



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After only six months, the Internet portal Google Lively was shut down on December ,probably not least because Lively did not constitute any substantial added value whencompared with Google Earth: But the surprise virtual world entry is the one that arrivedbefore Google Lively [] and thats Google Earth itself, which is about as comprehensive a

virtual world as you can imagine (Writer ).Although not yet realized on a personal basis, it seems to be the common accepted aim of geoartand ecomedia that, if locative media artists want to create effective cultural and politicalchanges when it comes to human environmental interactions, they need to change the wayevidence is gathered ( Jeremijenko and Gertz ; Himmelsbach ): Artistic explorationsshould not be restricted to illustrating our scientific discoveries, as is done in contemporaryclimate-change showcases. Art could instead help us to experience and reveal our innerparticipation with weather and climate, the rupture of their balance and its meaning for ourinner world, in the same way that landscape artists reframed the relationship of humans totheir environment. (Leonardo Lovely Weather call for publications )

RAbler, R. . Te geography of communications. In Transportation geography: Comments andreadings, ed. M. E. Hurst, . New York: McGraw-Hill.

Aitken, S., and D. Dixon. . Imagining geographies of film. Erdkunde (): .Anonymous. . Editorial: A flood of hard data. Nature: (last accessed September

).Bed, V. . Away from street level: Emerging patterns on interactive urban maps. Aether: e Journal of Media Geographyv.b (in this issue).Bollhfer, B. . Geographien des Fernsehens. Der Klner Tatort als mediale Verortung kultureller

Praktiken. Bielefeld: ranscript.Boulton, C. . Googles Vint Cerf sees mobility, AI in the Webs future , September

(last accessed September ).Bruno, G. . Atlas of emotion: Journeysin art, architecture, and film, New York: Verso.Budke, A., D. Kanwischer, and A. Pott (eds.) . Internetgeographien. Beobachtungen zum

Verhltnis von Internet, Raum und Gesellschaft, Stuttgart: Steiner.Burrows, R., and N. Gane. . Geodemographics, software and class. Sociology (): .Butt, D., J. Bywater, and N. Paul (eds.) . Place: Local knowledge and new media practice.

Newcastle: Cambridge Scholars Publishing.Carter, B. . esting the hypothesis of dangerous global warming. Presentation to the Heartland

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