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180 Mobile Culture Studies. The Journal 6 2o20 (Travel) Tanja Kapp | Journeying the Page infinite mobility and interchangeability, but of elaborate specificity and difference and the loving care people might take to learn how to see faithfully from another’s point of view, even when the other is our own machine. (Haraway 1991: 190) Harnessing the primal and immediate ability to see, to perceive visually, Haraway here illus- trates how each and every representation created or encountered by an individual is ultimately produced in a situated way. Likewise, Charleston uses the map to unsettle its associated univer- sality, and portrays landmarks from the point of view of the walker, prompting the reader ‘to see faithfully from another’s point of view’ (Haraway 1991: 190). Piepmeier argues that the zine uniquely acknowledges situated practices as legitimate standpoints, by incorporating and jux- taposing representations whose original contexts and conventions are exposed, challenged, and even completely reversed. By mixing and matching these different genre- and media-specific entities, zines advertise for an anti-essentialism — a characteristic that Piepmeier attributes to zines’ inherently feminist tendencies: Theory requires a certain degree of abstraction, but feminist practices have rightly demanded atten- tion to material origins and conditions that are particularized. I contend that zines up the ante on this tension because they are intensely and intentionally local, individualized, and eccentric. (Piepmeier 2009: 10) Correspondingly, Charleston’s travel zine maps seemingly unremarkable points of reference together, using psychogeography and intermediality, and thus makes the case that spatial knowledge, like all knowledges acquired and shared by humans, can only be known via indi- vidual points of view. Case Study 2: John Molesworth’s A Long Walk (2016) Moving on to another example of zine making, the analysis now focuses on John Molesworth’s A Long Walk, a zine documenting a 5-day walk in May 2016 between the London railway sta- tions Queens Road Peckham and Shadwell. The pages of the 13.5 to 19 cm zine are printed in blue by risograph, with a small number of individual pages featuring either coloured images or yellow paper. A white gloss paper cover wraps around the body, held together by adhesive binding. Encountering on his walk the gentrifying forces of a diverse, yet economically separated contemporary London, Molesworth’s zine harks back to the work of earlier psychogeographers. On the one hand, with his walking route being next to working train tracks, he consciously forces his pedestrianism onto spaces that are not necessarily carved out for this activity by city planners. Crucially, he is thus reclaiming pathways by means of a dérive, a psychogeographi- cal technique developed by the Situationist International, a group of thinkers in mid-twenti- eth-century Paris responsible for the coinage of the term psychogeography. The cover of A Long Walk [see Fig. 4] is reminiscent of the famous Situationist map ‘Guide psychogéographique de Paris (The Naked City)’, published in 1957 by Guy Debord and Asger Jörn. This map depicts passageways between various neighbourhoods of Paris, directed by the specific approach of dérive, or drifting. Debord saw drifting as a ‘technique of rapid passage through varied ambi- ences’, where human trajectories were not up to pure chance but chosen according to a city’s ‘psychogeographical contours, with constant currents, fixed points and vortexes that strongly