Over the past two decades, techniques for advanced computing and enhanced imaging have transformed the ways planners, geographers, surveyors, and others think about and visualize the places, regions, and peoples of the earth. Ground Truth is the first book to explicitly address the role of geographic information systems (GIS) in their social context. Contributing authors consider the ideas and practices that have emerged among GIS users, demonstrating how they reflect the material and political interests of certain groups. Chapters also discuss the impact of new GIS technologies on the discipline of geography, and evaluate the role of GIS within the wider transformations of free-market capitalism.

This volume ventures into terrain where even the most sophisticated map fails to lead--through the mapmaker's bias. Denis Wood shows how maps are not impartial reference objects, but rather instruments of communication, persuasion, and power. Like paintings, they express a point of view. By connecting us to a reality that could not exist in the absence of maps--a world of property lines and voting rights, taxation districts and enterprise zones--they embody and project the interests of their creators. Sampling the scope of maps available today, illustrations include Peter Gould's AIDS map, Tom Van Sant's map of the earth, U.S. Geological Survey maps, and a child's drawing of the world. THE POWER OF MAPS was published in conjunction with an exhibition at the Cooper Hewitt Museum, the Smithsonian Institution's National Museum of Design.

Drawing lessons from the complex and often contradictory position of white women writing in the colonial period, This unique book explores how feminism and poststructuralism can bring new types of understanding to the production of geographical knowledge. Through a series of colonial and postcolonial case studies, essays address the ways in which white women have written and mapped different geographies, in both the late nineteenth century and today, illustrating the diverse objects (landscapes, spaces, views), the variety of media (letters, travel writing, paintings, sculpture, cartographic maps, political discourse), and the different understandings and representations of people and place.

Studies of women travel writers have ranged from anecdotal and celebratory accounts to more critical essays on imperialism or the textualization of difference. This book does more. Drawing from the life and travels of Mary Kingsley, a nineteenth century travel writer and critic of the Crown Colony system, Alison Blunt cogently examines the relationships among travel, gender, and imperialism. Instead of studying either travel generally or women travel writers in the colonial period specifically, Blunt examines both to show how the spatiality and gendering of travel are inseparable. Underlying her examination are debates about women as a focus of historical research, Western women and imperialism, and the place of women in a historiography of geography.

Music is omnipresent in human society, but its language can no longer be regarded as transcendent or universal. Like other art forms, music is produced and consumed within complex economic, cultural, and political frameworks in different places and at different historical moments. Taking an explicitly spatial approach, this unique interdisciplinary text explores the role played by music in the formation and articulation of geographical imaginations--local, regional, national, and global. Contributors show how music's facility to be recorded, stored, and broadcast; to be performed and received in private and public; and to rouse intense emotional responses for individuals and groups make it a key force in the definition of a place. Covering rich and varied terrain--from Victorian England, to 1960s Los Angeles, to the offices of Sony and Time-Warner and the landscapes of the American Depression--the volume addresses such topics as the evolution of musical genres, the globalization of music production and marketing, alternative and hybridized music scenes as sites of localized resistance, the nature of soundscapes, and issues of migration and national identity.

Over the past two decades, techniques for advanced computing and enhanced imaging have transformed the ways planners, geographers, surveyors, and others think about and visualize the places, regions, and peoples of the earth. Ground Truth is the first book to explicitly address the role of geographic information systems (GIS) in their social context. Contributing authors consider the ideas and practices that have emerged among GIS users, demonstrating how they reflect the material and political interests of certain groups. Chapters also discuss the impact of new GIS technologies on the discipline of geography, and evaluate the role of GIS within the wider transformations of free-market capitalism.

This volume ventures into terrain where even the most sophisticated map fails to lead--through the mapmaker's bias. Denis Wood shows how maps are not impartial reference objects, but rather instruments of communication, persuasion, and power. Like paintings, they express a point of view. By connecting us to a reality that could not exist in the absence of maps--a world of property lines and voting rights, taxation districts and enterprise zones--they embody and project the interests of their creators. Sampling the scope of maps available today, illustrations include Peter Gould's AIDS map, Tom Van Sant's map of the earth, U.S. Geological Survey maps, and a child's drawing of the world. THE POWER OF MAPS was published in conjunction with an exhibition at the Cooper Hewitt Museum, the Smithsonian Institution's National Museum of Design.

Drawing lessons from the complex and often contradictory position of white women writing in the colonial period, This unique book explores how feminism and poststructuralism can bring new types of understanding to the production of geographical knowledge. Through a series of colonial and postcolonial case studies, essays address the ways in which white women have written and mapped different geographies, in both the late nineteenth century and today, illustrating the diverse objects (landscapes, spaces, views), the variety of media (letters, travel writing, paintings, sculpture, cartographic maps, political discourse), and the different understandings and representations of people and place.

Studies of women travel writers have ranged from anecdotal and celebratory accounts to more critical essays on imperialism or the textualization of difference. This book does more. Drawing from the life and travels of Mary Kingsley, a nineteenth century travel writer and critic of the Crown Colony system, Alison Blunt cogently examines the relationships among travel, gender, and imperialism. Instead of studying either travel generally or women travel writers in the colonial period specifically, Blunt examines both to show how the spatiality and gendering of travel are inseparable. Underlying her examination are debates about women as a focus of historical research, Western women and imperialism, and the place of women in a historiography of geography.

Music is omnipresent in human society, but its language can no longer be regarded as transcendent or universal. Like other art forms, music is produced and consumed within complex economic, cultural, and political frameworks in different places and at different historical moments. Taking an explicitly spatial approach, this unique interdisciplinary text explores the role played by music in the formation and articulation of geographical imaginations--local, regional, national, and global. Contributors show how music's facility to be recorded, stored, and broadcast; to be performed and received in private and public; and to rouse intense emotional responses for individuals and groups make it a key force in the definition of a place. Covering rich and varied terrain--from Victorian England, to 1960s Los Angeles, to the offices of Sony and Time-Warner and the landscapes of the American Depression--the volume addresses such topics as the evolution of musical genres, the globalization of music production and marketing, alternative and hybridized music scenes as sites of localized resistance, the nature of soundscapes, and issues of migration and national identity.