KeywordsTim Robinson; deep mapping; space and place; environmental art; mapping in Ireland; consilience; heritage; intangible cultural heritage; maps; mapping; atlas; neighborhood; transformer; landscape architects; geographer; deep mapping; screen tourism; Oxford; Harry Potter; Inspector Morse; intellectualism; social media; archaeology; excavation; test pits; rural settlement; rural communities; England; prehistoric; Roman; Anglo-Saxon; medieval; Gregory Bateson; map and territory; city; post-apartheid; Cape Town; Long Street; differences; District Six Museum; interdisciplinary border crossings; cultural landscapes; everyday life; psycho-geography; place-making and belonging; commuting; cycling; mobility; Nomadism; performance; swimming; walking; cartographic cinema; cinematic cartography; deep mapping; Grant Gee; essay film; documentary; W.G. Sebald; non-places; liminality; rhythmanalysis; spatial anthropology; autoethnography; embodiment; mobility; motorways; northwest England; deep mapping; performativity; flat ontology; actor network theory; speculative realism; object oriented ontology; urban rivers; creative practice; Alfred Watkins; auto-ethnography; deep mapping; landscape; leylines; place; walking; deep mapping; cartography; cartographic art; trespass; collage; quotation; textual collage; deep map; spatial humanities; GIS; psychogeography; site-specific; performance; ethnography; embodiment; non-representational
