Mapping Deathscapes
This volume offers a critical and creative analysis of the innovations of Deathscapes, a transnational digital humanities project that maps the sites and distributions of custodial deaths in locations such as police cells, prisons and immigration detention centres.
An international team of authors takes a multidisciplinary approach to questions of race, geographies of state violence and countermaps of resistance across North America, Australia and Europe. The book establishes rich lines of dialogic connection between digital and other media by incorporating both traditional scholarly resources and digital archives, databases and social media. Chapters offer a comprehensive mapping of the key attributes through which racial violence is addressed and contested through digital media and articulate, in the process, the distinctive dimensions of the Deathscapes site.
This interdisciplinary volume will be an important resource for scholars, students and activists working in the areas of Cultural Studies, Media and Visual Studies, Indigenous Studies, Refugee Studies and Law.
Suvendrini Perera is John Curtin Distinguished Emeritus Professor at Curtin University, Australia. She is author/editor of nine books including the monographs Survival Media (2017), Australia and the Insular Imagination: Beaches, Borders, Boats and Bodies (2009) and Reaches of Empire 1992).
Joseph Pugliese is Professor of Cultural Studies at Macquarie University, Australia. His previous books include Biometrics: Bodies, Technologies, Biopolitics (Routledge, 2010), State Violence and the Execution of Law: Torture, Black Sites, Drones (Routledge, 2012) and Biopolitics of the More-Than-Human: Forensic Ecologies of Violence (2020).
Routledge Research in Digital Humanities
The Routledge Research in Digital Humanities series is an interdisciplinary monograph series which publishes current research into the field of digital humanities. The books in the series address methodological and conceptual digital humanities issues and explain how the software or the techniques used broaden the possibilities for digital humanities and their respective field.
In the same series:
Mapping Space, Sense, and Movement in Florence: Historical GIS and the Early Modern City
Edited by Nicholas Terpstra and Colin Rose
Visualizing Venice: Mapping and Modeling Time and Change in a City
Edited By Kristin L. Huffman, Andrea Giordano, Caroline Bruzelius
Mapping Deathscapes: Digital Geographies of Racial and Border Violence
Edited by Suvendrini Perera and Joseph Pugliese
First published 2022
by Routledge
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and by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an informa business
2022 selection and editorial matter, Suvendrini Perera and Joseph Pugliese; individual chapters, the contributors
The right of Suvendrini Perera and Joseph Pugliese to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
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British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record has been requested for this book
ISBN: 978-1-032-05657-9 (hbk)
ISBN: 978-1-032-06075-0 (pbk)
ISBN: 978-1-003-20061-1 (ebk)
DOI: 10.4324/9781003200611
Typeset in Sabon
by codeMantra
Figures
Part I.1 Saying Their Names, Walyalup [Fremantle], Australia, June 2020. Installation in solidarity with George Floyd protests. Photo: Anonymous. Reproduced with permission.
1.1 The Struggle for Justice Continues. Screenshot from Deathscapes case study, At a Lethal Intersection: The Killing of Ms Dhu.
2.1 Blood-Stained Parliament, Adelaide, Australia. Photo: Maria Gianna-copoulos.
3.1 A Catalogue of Deaths at the Villawood Detention Centre in Sydney. Screenshot from Deathscapes Case Study, Villawood: A Suburban Deathscape in Plain Sight.
Part II.1 Julie Gough. Some of Our Women Kidnapped by Sealers, 2007. Image courtesy of the artist.
4.1 Paola Balla, Born into Sovereignty, Live in Sovereignty, 2014. Image courtesy of the artist. Screenshot from Deathscapes case study, Indigenous Femicide and the Killing State.
5.1 Known Deaths and Disappearances of Indigenous Women in Their Homes. Screenshot from Deathscapes case study, Indigenous Femicide and the Killing State.
Part III.1 Marziya Mohammedali, Call Them Home 2016. Courtesy of the artist. Photo: Michelle Bui.
7.1 Marziya Mohammedali, Call Them Home, 2016. Courtesy of the artist. Photo: Michelle Bui.
8.1 Instrumentalised Exposure: In Transit. Screenshot from Deathscapes case study, Extraterritorial Killings: The Weaponisation of Bodies.
Part IV.1 Call to Account, Walyalup [Fremantle], Australia. Deathscapes. Photo: Charandev Singh.
11.1 Julie Gough. Hunting Ground (Haunted), Van Diemens Land, 2016. Installation View. Photographer: Simon Hewson (2016). Image Courtesy of the Artist and Campbelltown Arts Centre.
11.2 Julie Gough. Hunting Ground (Haunted), Van Diemens Land, 2016. Installation View. Photographer: Simon Hewson (2016). Image Courtesy of the Artist and Campbelltown Arts Centre.
11.3 Julie Gough. Hunting Ground (Haunted), Van Diemens Land, 2016. Installation View. Photographer: Simon Hewson (2016). Image Courtesy of the Artist and Campbelltown Arts Centre.
11.4 Julie Gough. Hunting Ground (Haunted), Van Diemens Land, 2016. Detail. Photographer: Simon Hewson (2016). Image Courtesy of the Artist and Campbelltown Arts Centre.
11.5 Julie Gough. Hunting Ground (Haunted), Van Diemens Land, 2016. Detail. Photographer: Simon Hewson (2016). Image Courtesy of the Artist and Campbelltown Arts Centre.
11.6 Adrian Stimson. As Above So Below, 2016. Installation View. Photographer: Simon Hewson (2016). Image Courtesy of the Artist and Campbelltown Arts Centre.
11.7 Adrian Stimson. As Above So Below, 2016. Installation view. Photographer: Simon Hewson (2016). Image Courtesy of the Artist and Campbelltown Arts Centre.
11.8 Adrian Stimson. As Above So Below, 2016. Detail. Photographer: Simon Hewson (2016). Image Courtesy of the Artist and Campbelltown Arts Centre.
11.9 Adrian Stimson. As Above So Below, 2016. Detail. Photographer: Simon Hewson (2016). Image Courtesy of the Artist and Campbelltown Arts Centre.
11.10 Laurel Nannup. Quirriup, 2016. Photographer: Simon Hewson (2016). Image Courtesy of the Artist and Campbelltown Arts Centre.
12.1 Invasion Day Floral and Photo Memorial, Naarm [Melbourne] 2019. Photo by Charandev Singh.
