Charles Travis, Final Accepted Manuscript, Annals of the Association of American Geographers, 2015 Visual Geo-Literary and Historical Analysis, Tweetflickrtubing, and James Joyce’s Ulysses (1922) Abstract Situated at the intersection of the arts and sciences, Humanities GIS (HumGIS) are contributing to new knowledge systems emerging in the digital, spatial and geo humanities. This article discusses the conceptualization and operationalization of two HumGIS models engaging the cartographical and discursive tools employed by James Joyce to compose Ulysses (1922). The first model is used to perform a visual geo-literary historical analysis by transposing Homeric and Dantean topologies on a spatialized narrative of Joyce’s work. The second model integrates Ulysses within a social media map to interpret Bloomsday 2014 digital eco-system spatial performances in Dublin and globally. This article suggests that HumGIS models reflecting human contingency, idiosyncrasy and affect, drawing on literary, historical and social media tools, sources and perceptions, may offer GIScience, Neogeography and Big Data studies alternative spatial framings, and modelling scenarios. Keywords: GIS, literature, history, social-media, digital humanities. Introduction This article discusses the conceptualization, creation, and application of two Humanities Geographic Information Science (HumGIS) models respectively facilitating visual geo-literary- historical analysis, and social media activity interpretation, drawing on the “soft” data, cartographical, and discursive tools, and cultural impacts of James Joyce’s novel Ulysses (1922). HumGIS concepts and practices operate at the epistemological intersection of the arts and sciences, are shaping new discourses in the digital humanities, and provide GIScience, Neogeography and Big Data studies with an ontological shift and alternative modelling scenarios, shaped by the vagaries of human contingency and affect. Over the last quarter century, dissolutions of epistemological distinctions between science and technology studies, the arts, and humanities, have situated GIS within three overlapping waves of digital humanities evolution and innovation. The first wave’s digitization of historical, literary and artistic collections coupled with the emergence of online research methods and pedagogy, dovetailed with a second wave of humanities computing quantification exercises, and digital parsing, analysis, and visualization projects. Currently, a third wave is cresting and the ontological tables are turning as humanities discourses and tropes are now beginning to shape emerging coding and software applications, which are coming into league with the visual and performing arts to force trans-disciplinary encounters between fields as diverse as human cognition, bioinformatics, linguistics, gaming, social media, 1 Charles Travis, Final Accepted Manuscript, Annals of the Association of American Geographers, 2015 literature, painting and history (Cosgrove, 2005; MacTavish & Rockwell, 2006; Liu & Thomas, 2012). In addition, critiques of the digital humanities mirror those entertained by Critical GIS, including its lack of attention to race, class, gender, and sexuality; preference for research-driven projects; persistent apolitical attitudes; and a lack of diversity among practitioners (Gold, 2012). It has also been argued that the digital humanities, like GIS, and Neogeography manifest, reinforce and diffuse techno-cultural neo-liberal discourses and corporate models into university teaching and research practices, producing wider and unforeseen social impacts (Holm, Scott, and Jarrick, 2014; Leszczynski, 2014). However, it must be recognized that the use of technology has infused humanities scholarship for centuries: The alphabetization of biblical extracts in Peter of Capua’s eleventh century Distinctiones Theologicae, paved the way for the first concordance to the scriptures, compiled under the supervision of the Dominican Hugh of St Cher between 1235 and 1249 [. .] with these new alphabetical tools, the cultivation of memory became less important and it was the ability to manipulate these new knowledge systems which counted (Prescott, 2012). Currently, new GIS “knowledge systems” are being generated in the fields of history and literature, the Spatial Humanities, and the Geo-humanities (Gregory and Ells, 2007; Knowles, 2008; Siemens, and Schreibman, 2008; Cooper and Gregory 2010; Bodenhamer, Corrigan and Harris, 2010; Dear, Ketchum, Luria and Richardson, 2010; Travis, 2010; 2013; 2014). Human geography and Critical GIS have in part, served as incubators for these new digital knowledge systems, in addition to influencing the move towards more human centric geospatial technology studies to explore human agency, social differentiation, inequality, migrant lifeworlds and multiple, interpenetrating ecologies (Kwan, and Schwanen, 2012). In addition, critical, qualitative and feminist GIS applications creatively engage temporal and spatial frames in rhythm with the socio- cultural contingencies highlighted by women’s, ethnic and LGBT studies, often drawing on arts and humanities discourses and tropes (Kwan 2002; Cope and Elwood, 2009). A brief overview of Ulysses and the cartographical and discursive tools used by Joyce will preface discussions of how the two models engage discursive, historical and social media sources and perceptions in GIS to create alternative spatial framings, modelling scenarios and trans-disciplinary integrations. 2 Charles Travis, Final Accepted Manuscript, Annals of the Association of American Geographers, 2015 Translating “Ulysses” into GIS As one of the most significant depictions of urban modernity, Ulysses can be conceived as a “Big- Data” novel, consisting of 18 episodes, 933 pages, 265,000 words, and containing a lexicon of 30,030 terms, titles and expressions. A deeply layered and textured work, Joyce’s novel was modelled in HumGIS for several reasons. Firstly, its portrayal of Edwardian Dublin draws upon a interpenetrating Mythological, Medieval, Cartesian and Einsteinian stratigraphy of time-spaces. When juxtaposed against Joyce’s urban, quotidian, free indirect and stream of conscious narrative, these overlapping time-spaces provide conceptual and cultural perspectives from which to conduct multidimensional and trans-historical forms of GIS visualization and analysis. Secondly, Modernist literature implies the quotidian is heroic, and Ulysses plots the episodic and alienated (if not masculinist) travails of two men’s journeys across the city of Dublin as an epic voyage of the human condition, subconsciously countering feministic loss, rage and betrayal. This gives us a discursive template illustrating how to conceptualize and model the gendered contingencies, agencies, vagaries and idiosyncrasies associated with human-centric geo-narratives. Thirdly, Joyce’s perceptions, use of language and place, coupled with the explicit role that cartographical tools, maps, statistical records and episode schemas played in shaping the novel, allows us to ‘reverse imagineer’ the textual space of Ulysses into a HumGIS enabled visual / discursive space of analysis and conjecture. Fourthly, for over a century, the novel has been intermeshed with the history, identity and cultural fabric of Dublin. Ulysses’ annual celebration on Bloomsday (June 16th) indicates that Joyce’s early twentieth century discursive practices shape current socio-spatial performances, increasingly translated by twenty-first century geospatially enabled social media networks into digital ecosystems and feedback loops. Juxtaposing the geo-visual literary-historical analysis of Ulysses with social media mappings of Bloomsday celebrations of the novel illuminates that GIS models can engage the intractable relationships between forms of writing, socio-spatial production and performance while providing the potential to conduct philological, linguistical, artistic, and technical re-writings and parsings of history, place and text (literary, statistical and digital). Joycean narrative cartography In Ulysses, Joyce observed that “history . is a nightmare from which I am trying to awake” (1992 [1922], 42) and as the First World War convulsed Europe, he composed the novel in self-imposed exile from Ireland, living in Trieste, Zürich, and Paris. In his work, Joyce re-imagined Edwardian 3 Charles Travis, Final Accepted Manuscript, Annals of the Association of American Geographers, 2015 Dublin through correspondence, memory and by consulting maps as well as drafting several schemas to aid him in plotting the novel. Paradoxically, Ulysses occurs largely within the consciousness of Joyce’s principal characters: the twenty-two year old student Stephen Dedalus, and thirty-eight year old advertising salesman, Leopold Bloom. In eighteen episodes based upon episodes from the Greek Classical poet Homer’s epic the Odyssey (8BC), Joyce’s novel captures their travels across Dublin from 8 a.m. on the 16th of June 1904, to 2 a.m. the next morning. Both men are experiencing alienation in their daily lives. Dedalus is in mourning for his estranged mother and Bloom, who is Jewish in a largely Catholic country, carries the burdens of the recent death of his son Rudy, and awareness that his wife, Molly is cuckolding him with the bon vivant Blazes Boylan. The two men’s separate peregrinations through the different districts and neighbourhoods of Dublin over the course of the day are joined in the phantasmagoric “Nighttown” section of Ulysses when they meet in