Enacting this principle within an educational context might foster engagement with the intersections between geographic space and culture, giving students a better sense of the community/world they inhabit. If the goal within transmedia storytelling is to master physical and cultural geography, transmedia education should encourage moving within these spaces in meaningful ways, rather than mastering them. For example, the Oxy Street Art Project, a collaboration between Occidental students and faculty in partnership with MOCA, both documents and historicizes the geographic presence of street art in Los Angeles, and fosters conversations and analysis of how these geographic spaces change over time .
Though it potentially poses too literal interpretation of this principle, some of the richest work in the digital humanities uses (geographical or textual) mapping to great effect; the examples of the DM Project's Virtua Mappa, UVA's VisualEyes authoring tool, the Center for Spatial and Textual Analysis and Steve Anderson's Technologies of History demonstrate a range of modes of "mapping." Likewise, we might take a meta approach to transmedia scholarship, "mapping" the texts that collectively constitute the project as a whole. Envisioning a scholarly project as both a "world," and part of the world, lends a dynamism and level of accountability to the work.
Principle in Practice:
Xarene Eskandar's Mapping in Hypercities
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