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As geographers confront the manifold challenges of an Anthropocene, so the framing of geography as the critical study of space – a framing that took hold of theory and practice in the 20th century and that searched for antecedents as well as prognostications – is increasingly splayed across the long durée of geography as the interrogation of the nature of human being as well as the Earthly environment and the constitutive relations between these. While the prospect of a new geologic epoch situates these Anthropocene challenges as the conjunction of a human history with the deep time of the planet, it also suggests, for example, the entanglement of the geopolitical and the geophysical, an entanglement that the (colonial and imperialising) discipline of geography has helped to articulate and produce even while proffering an explanation of the same. In pivoting back once more to the knotty matter of geopolitics and geophysics, what concepts and lexicons might be productive? Here, and thinking through the work that terrain has done and can do, I offer the multi-agential, survey defying, taxonomically mutable, drifting geographies of drift that have been so perturbing to a solid geology and its stratigraphic tempo, and hence can, perhaps, provide another resource from which to construe the political materialities of an Anthropocene.

Current day volcanology largely tends to an instrumentalist view of art as, in its mimetic form, capable of providing proxy data on the timing and unfolding of particular volcanic events and, in its impressionistic form, of conveying the sublime grandeur of volcanic events and scenes. In this chapter, we note that such a reductionist view of what science is unhelpfully glosses over a much more complex disciplinary lineage, wherein both art and aesthetics played a key role in knowledge production concerning volcanoes. Using the work of Sir William Hamilton and Mary Somerville as case studies, we emphasise that art and aesthetics were part and parcel of both an 18th and 19th century approach to the study of volcanoes, and the making of particular scientific audiences. What is more, it is this lineage that provides a creative reservoir for more recent efforts that cut across scientific and arts divides, such that the ‘communication’ of the nature of volcanoes becomes a multi-media, multi-affective endeavour that speaks to a diverse range of publics.

Can we reconfigure recent work on topological space, so productively brought to bear in an understanding of power in geography, to understand the spatialities of and among flesh, objects and viral life? Here we expand on topology via touch – a ‘tactile topology’ – that focuses on the material connections among mobile bodies. The engine of topological transformation thus becomes the various materials and forces that grab onto each other, interpenetrating and reassembling at various speeds and intensities, such that diverse proximities and distances, contacts and connections, are made and remade. Grounding our argument via a reading of Steven Soderbergh's 2011 film, Contagion, which tracks the virulent outbreak of a largely fatal zoonotic disease, we speculate on what a tactile topology might feel like, and in particular on what touch implies for the concept of topology.

How can a feminist materialism problematise the knowledges and practices of geopolitics, and locate new objects for critical analysis? In the following, I acknowledge how geopolitics as a form of statecraft has been preoccupied with the unruly nature of flesh. I also note how an accounting for flesh as a socio-spatial material has helped to animate both a critical geopolitical inquiry concerned with the inscription of bodies alongside other texts and a feminist concern with embodiment. My response to these developments is twofold. First, I want to query the devolving of the flesh into an ideologically saturated matter that can be examined using corporeal bodies as entry points for analysis. Second, and via recourse to work founded on feminist material philosophies, I want to reclaim the excessive, lively character of flesh. To do so, I outline how the geo- in geopolitics can be understood as an ‘earthiness’ that is concerned, at the broadest level, with differential orderings of and access to life, and especially the matters of sex, sexuality and reproduction, and, more specifically, with a concern for differential renderings of a corporeal vulnerability and obduracy, and the articulation of these alongside the building of a practice-based ethics. Using the example of stem cells, I go on to demonstrate how an emphasis upon flesh as an object of analysis allows for a reworking of geopolitics' traditional foci – such as borders – away from questions of the ‘where’ of social relations and toward the inexhaustible becoming of materials and forces that makes and unmakes such foci.

This chapter looks at the intertwined evolution of two different ideas throughout the past century: that of ‘territory’, that has been reshaped and redefined in the field of architecture and urbanism, and that of ‘digital’, that while becoming dominant, has been influencing territorial studies. While territory emerged as a subject, as the largescale object where to observe urbanization and landscape, the question of its representation becomes key in understanding its interaction with another emerging field, that of ‘digital’. It is thus through the representation of territory that this chapter conjugates digital and territorial turn. More in particular, we observe cartographies as and made by architects and urbanist, that we define transformative: with this notion, we intend cartography oriented not only to represent, but also to transform of the same object of representation, that is to say the territory itself. The digital evolution of transformative cartographies builds up from two parallel paths, that of an emerging physical territorial dimension and that of emerging technologies. Paths that converge and diverge over the decades: after a crossing turn between 8’0s and 90s, a forking path seems to rather distinguish the most recent experiences.