Pub Date : 2022-02-11DOI: 10.1177/14744740221076525
K. Mchugh
The Anthropocene problematic calls for imaginative aesthetic experiments fostering more-than-human thought and sensibilities. In this thought experiment, I draw on a sensing device in conjuring a thermal imaginary that decenters the human, espying a glimpse of a strange and uncanny world-without-us. The imaginary is a speculative performance in elemental attunement – becoming-molecular, becoming-imperceptible in the generative potentia of planetary heat – opening a pathway in rethinking bodies and worlds as emergent in, and through, forces elemental and cosmic in scope. The thermal imaginary accentuates the elemental as exorbitant, anonymous, and nonpossessable, an earthly plenum beyond any final capture, possession, mastery and control. Elemental alterity, the very strangeness of the earth, rises in the thermal imaginary as a summons, a calling from the “outside,” gesturing toward an immanent ethics of radical openness working in, and through, earthly bodies always already exposed and vulnerable in the force of the elemental. We must be open to the elemental summons, expanding capacities for what a body can do, moving beyond spinning reductive and redemptive Anthropocene narratives for saving this world. There can be no new bodies and worlds to come in the absence of an elemental ethics worthy of the earth itself.
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Pub Date : 2022-02-08DOI: 10.1177/14744740221076526
G. Whittaker
Audio archives are a unique tool that have helped geographers further their spatial analyses of the world. Through listening to voices from the past, the historical geographies of places are revealed and can, then, be used to better understand the numerous narratives that shape a location. But what happens if we take these recordings and reinterpret them, using an artistic lens? Can we create fresh and alternative ways of displaying and doing cultural geography? In this short essay, I demonstrate how I used selected audio archives which discussed the formative years of the life of Welsh poet, Dylan Thomas, to create a video map which combines past and present representations of the city of Swansea, Wales, to reimagine the archives for a 21st-century audience. By doing so, I reflect on how when combined with artistic methods, audio archives can be a vital tool for mapping new and innovative understandings of place.
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Pub Date : 2022-02-01DOI: 10.1177/14744740221076523
Friederike Landau-Donnelly
The paper explores the politics of (dis)assembling borders within Europe. It examines the performance of the Berlin-based artist collective Zentrum für Politische Schönheit (Center for Political Beauty, ZPS) in 2014, in which artist activists temporarily removed white border crosses commemorating death at the former Berlin Wall. With this unauthorized displacement, ZPS sought to problematize ongoing violence and death at European borders. Via a three-part analysis of the performance Erster Europäischer Mauerfall (First European Fall of the Wall), the paper outlines a political framework for understanding art around and against borders – contributing to accounts on border art and the politics of borders. Staged as critique against the official commemoration of the 25th anniversary of the Fall of the Wall, perceived by ZPS as festivalized and thus apolitical event, the multiple performance acts highlight material and emotional movements. They oscillate between past and present border death, commemorated and forgotten border objects, bodies, places. In particular, ZPS aimed to denounce (implicit) hierarchies regarding how and whose death at European borders is remembered via acts of (dis)assembling. By unsolicitedly (re)moving Berlin’s border crosses (Act I), mobilizing over 100 activists to dismantle border fences and temporarily installing replica crosses at Southern EU borders and placing them in the hands of contemporary refugees (Act III), ZPS mobilized public concern about contemporary border politics and commemoration. The paper contributes to border studies that view borders as inherently complex and contingent symbolic, socio-spatial arrangements, which affect and are affected by objects, bodies, and policies that oscillate between contested absence and presence. Accompanied by controversial media coverage, the performance gathered (im)mobile bodies, moving objects, and multiple emotional responses about the what, where and who of Europe. Ultimately, politics of (dis)assembling unfold absence and presence to articulate mo(ve)ments of ‘the political’ as contestation against complacency and border violence.
这篇论文探讨了欧洲内部分裂边界的政治问题。展览考察了2014年柏林艺术家团体Zentrum f r Politische Schönheit(政治美中心，ZPS)的表演，艺术家活动家暂时移除了纪念前柏林墙死亡的白色边界十字架。通过这种未经授权的流离失所，ZPS试图将欧洲边境正在发生的暴力和死亡问题化。通过对Erster Europäischer Mauerfall(欧洲第一次推倒柏林墙)表演的三部分分析，本文概述了理解围绕边界和反对边界的艺术的政治框架-有助于对边界艺术和边界政治的描述。作为对柏林墙倒塌25周年官方纪念活动的批评，ZPS认为这是节日化的，因此是非政治事件，多种表演行为突出了物质和情感运动。它们在过去和现在的边界死亡、纪念和被遗忘的边界物体、尸体和地方之间摇摆。特别是，ZPS旨在谴责(隐含的)等级制度，即如何以及谁在欧洲边境的死亡是通过(解散)集会来纪念的。通过主动(重新)移动柏林的边境过境点(第一幕)，动员100多名活动家拆除边境围栏，并在欧盟南部边境临时安装复制的过境点，并将其交给当代难民(第三幕)，ZPS动员了公众对当代边境政治和纪念活动的关注。该论文有助于边界研究，将边界视为固有的复杂和偶然的象征性，社会空间安排，影响和受物体，身体和政策的影响，在有争议的缺席和存在之间摇摆。伴随着有争议的媒体报道，表演聚集了(im)移动的身体，移动的物体，以及关于欧洲的什么，在哪里和谁的多种情绪反应。最终，“分裂”的政治展现了缺席和存在，以阐明“政治”的各个方面，作为反对自满和边境暴力的斗争。
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Pub Date : 2022-02-01DOI: 10.1177/14744740221076520
Maxwell Woods
In response to State violence during the so-called ‘Chilean social explosion’ [estallido social], the Valparaíso Coordinator of Cultural Action [Coordinadora acción cultural Valparaíso] (CAC) in collaboration with other cultural groups of Valparaíso as well as other artists who spontaneously improvised during the performance organized on 31 October 2019 an ‘artistic candlelight vigil for human rights’ that passed through the center of the Chilean coastal town of Valparaíso, one ostensible effect of which was to rewrite the affective geography of Valparaíso in response to the violence that had erupted in the city during the 2 weeks prior. This article examines the relationship between this candlelight vigil, the revolutionary autonomist foundations of the Chilean social explosion, and the affective geography of Valparaíso, in addition to developing a broader theorization of the relationship between narrative, revolution, the politics of autonomy, and affective geography through this analysis. In the end, this article makes a double intervention: (1) The ‘artistic candlelight vigil’ in Valparaíso on 31 October 2019 memorializing the victims of State violence was an effective catharsis of the discordant affects held by Chilean protestors during the social explosion. (2) This example of catharsis demonstrates a new resolution to the relationship between narrative, revolution, and affective geography by proposing that art can work through the discordant affects of a polity in order to arrive at an autonomous urban communality from below.
为了应对所谓“智利社会爆炸”期间的国家暴力，瓦尔帕莱索文化行动协调员[Cordinadora acción Cultural Valparaíso]（CAC）与瓦尔帕莱苏的其他文化团体以及在2019年10月31日组织的“人权艺术烛光守夜”表演中自发即兴创作的其他艺术家合作，其中一个表面上的效果是改写了瓦尔帕莱索的情感地理，以应对2 周前。本文考察了这场烛光守夜、智利社会爆炸的革命自主主义基础和瓦尔帕莱索的情感地理学之间的关系，此外，通过这一分析，对叙事、革命、自主政治和情感地理学之间关系进行了更广泛的理论化。最后，本文进行了双重干预：（1）2019年10月31日在瓦尔帕莱索举行的纪念国家暴力受害者的“艺术烛光守夜”有效地宣泄了智利抗议者在社会爆炸期间的不和谐情绪。（2） 这个宣泄的例子展示了对叙事、革命和情感地理之间关系的一种新的解决方案，提出艺术可以通过政治的不和谐影响来实现一个自治的城市社区。
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Pub Date : 2022-02-01DOI: 10.1177/14744740221076522
Samuel Berlin
pleasingly jarring exploratory experience. For example, a social history of Buckley Space Force Base coexists just a few clicks away from Jeff Gipe’s provocative 2015 memorial artwork, Cold War Horse. An image of the controversial Candelas housing development adjacent to Rocky Flats is a mere page away from a short essay by Katherine Schmidt on the Maybell Disposal Site. In this way, the Atlas condenses nuclear space and time. The featured essays are elegant and diverse in scope. They include authors such as Stephanie Malin, A. Laurie Palmer and Gretchen Heefner. Artistic highlights include Abbey Hepner’s ‘Uravan’, which is a collection of laser-cut engravings of the vanished uranium mill town of Uravan, superimposed onto the contemporary landscape. Allan Ginsberg’s wry 1978 ‘Plutonian Ode’ to Rocky Flats plutonium pit manufacturing plant and Claudia X. Valde’s poignant flag-based work, ‘For the Future, With Love’, are also featured. The cartography page within the Atlas offers a comprehensive, simple, and clickable A–Z of each nuclear site in Colorado. Upon selection, each location includes a brief referenced description and a link to a relevant keyword; for example, ‘Deployment, Training, Command and Control’ or ‘Refining’. However, the overarching site is deliberately multicursal, which creates a meandering but occasionally aimless user experience. While this format mirrors the anfractuous nature of nuclear issues, it may also create some navigational challenges for the casual reader. However, the inclusion of multiple pathways is creative, and does offer insights into the complexity and connectivity of nuclear places and mobilities. This project is representative of a larger inclusive turn in cultural geographies, more generally. While the Atlas is currently set across Colorado and its hinterland, I envisage that the globalised nature of the nuclear industrial establishment could offer an expansion upon this original work. Perhaps, in due course, we can hope for ‘A People’s Nuclear Atlas of the World’.
令人愉悦的探索体验。例如，巴克利太空部队基地的社会历史与杰夫·吉佩(Jeff Gipe) 2015年具有挑衅性的纪念艺术品《冷战之马》(Cold War Horse)共存，只需点击几下鼠标。凯瑟琳·施密特(Katherine Schmidt)在梅贝尔垃圾处理场(Maybell Disposal Site)上发表的一篇短文中，仅隔了一页，就看到了与Rocky Flats相邻的有争议的坎德拉斯(Candelas)住宅开发项目的图片。通过这种方式，阿特拉斯凝聚了核空间和时间。精选的文章文笔优美，内容多样。其中包括Stephanie Malin, A. Laurie Palmer和Gretchen Heefner等作家。艺术亮点包括Abbey Hepner的“Uravan”，这是一个激光切割雕刻的集合，它是Uravan消失的铀工厂小镇，叠加在当代景观上。艾伦·金斯伯格1978年为Rocky Flats钚坑制造厂创作的讽刺作品《Plutonian Ode》和克劳迪娅·x·瓦尔德以旗帜为主题的作品《为了未来，有爱》也在展览中展出。地图集中的制图页面提供了科罗拉多州每个核站点的全面、简单和可点击的a - z。在选择后，每个位置包括一个简短的参考描述和一个链接到相关的关键字;例如，“部署、训练、指挥和控制”或“精炼”。然而，总体的网站是故意多通道的，这创造了一个蜿蜒但偶尔漫无目的的用户体验。虽然这种形式反映了核问题错综复杂的本质，但它也可能给普通读者带来一些导航上的挑战。然而，包含多种路径是创造性的，并且确实提供了对核心地点和流动性的复杂性和连通性的见解。这个项目代表了文化地理学更广泛的包容性转变。虽然《地图集》目前的背景是科罗拉多州及其腹地，但我设想核工业机构的全球化性质可以在原著的基础上进行扩展。也许，在适当的时候，我们可以期待“世界人民核地图集”。
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Pub Date : 2022-01-06DOI: 10.1177/14744740211068097
L. Kemmer, Wladimir Sgibnev, Tonio Weicker, Maxwell Woods
Developing thoughts on exposure in cultural geography, literary studies, and mobilities research, this article aims to provide a more comprehensive account towards the publicness of public space. What would happen if we assessed publicness not by degrees of openness and inclusion, but through the nexus of vulnerability and complicity that is fundamental to the notion of exposure? To grasp such an intrinsic dualism, our perspective goes towards public transport, where experiences of exposure are intensified by its specific conditions of encapsulation and movement. We illustrate this perspective drawing from the autobiographical chronicles of the Chilean writer Pedro Lemebel, in order to then propose a ‘learning from’ the case of public transport for a rethinking of publicness. Specifically, we argue that exposure provides new insights on agency, power and vulnerability as part of a more processual notion of public space.
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Pub Date : 2021-12-29DOI: 10.1177/14744740211065047
Siew Ying Shee
This paper develops a more-than-representational approach to consumer agency in food biopolitics that is sensitive to people’s everyday eating experiences. In recent years, studies of food biopolitics have engaged with questions of agency by examining how socially constructed ideas of ‘good’ eating and citizenship are engaged on the ground. Yet, there remain opportunities to depart from the evaluative mind as a dominant site of ethical self-formation, and engage with the body as a site of political action and agency. In this paper, I argue that people’s sense of citizen selves has long been, and continue to be, organised across the interplay of material, discursive, and visceral spaces of eating. I develop this argument by drawing on a critical analysis of historical and contemporary news forums related to public eating in Singapore. For many consumers, their disdain for certain food—ranging from the erstwhile state-vaunted meal plans to leftover food on public dining tables—express an embodied agency in negotiating the technocratic designs of citizenship. In developing a visceral biopolitics of eating, this paper aims to expand understandings of consumers’ capacity in negotiating the ethical tensions between hegemonic imaginings of ‘good’ citizens and the everyday pleasures of eating. Approaching consumer agency this way orientates critical yet oft-overlooked attention to the body’s capacity to act, and possibly effect change, within the broader workings of dietary bio-power.
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Pub Date : 2021-12-14DOI: 10.1177/14744740211062095
Jacob C. Miller, Kahina Meziant
{"title":"Book review: A Place More Void","authors":"Jacob C. Miller, Kahina Meziant","doi":"10.1177/14744740211062095","DOIUrl":"https://doi.org/10.1177/14744740211062095","url":null,"abstract":"","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"29 1","pages":"160 - 161"},"PeriodicalIF":1.6,"publicationDate":"2021-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48435314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-02DOI: 10.1177/14744740211062939
J. Fall
approaches, at times the thread of NRT risks getting lost in an in-depth discussion of, say, sonic geographies, or landscape studies. With this said, the permeability Simpson introduces here is admirable and progressive, moving NRT beyond a narrow pool of thinkers and ideas – but it may be a double-edged sword. This book is written in a conversational and accessible tone which makes it distinct from other key texts on NRT which tend to be poetic and descriptive in nature, which Simpson notes. This conversational tone makes for a satisfying read in which complex ideas are clearly explained. This makes the book ideal for students and those new to NRT. NRT are powerful and arguably political, in that they move beyond routinised or standardised ways of making sense of the world as life is lived – and this book makes this radical approach widely accessible. I would note though, Simpson pitches this book’s contribution with absolute humility. The conclusion, for instance, begins with a series of caveats about what the book does not do, what the reader might or might not have taken from their read, and this kind of speculation appears throughout. This is again a double-edged sword. It is admirable in that it works against overzealous contribution-claiming, but this humility also risks understating the vital contribution this book makes to social and cultural geography.
{"title":"Book Review: Comics as a Research Practice: Drawing Narrative Geographies Beyond the Frame","authors":"J. Fall","doi":"10.1177/14744740211062939","DOIUrl":"https://doi.org/10.1177/14744740211062939","url":null,"abstract":"approaches, at times the thread of NRT risks getting lost in an in-depth discussion of, say, sonic geographies, or landscape studies. With this said, the permeability Simpson introduces here is admirable and progressive, moving NRT beyond a narrow pool of thinkers and ideas – but it may be a double-edged sword. This book is written in a conversational and accessible tone which makes it distinct from other key texts on NRT which tend to be poetic and descriptive in nature, which Simpson notes. This conversational tone makes for a satisfying read in which complex ideas are clearly explained. This makes the book ideal for students and those new to NRT. NRT are powerful and arguably political, in that they move beyond routinised or standardised ways of making sense of the world as life is lived – and this book makes this radical approach widely accessible. I would note though, Simpson pitches this book’s contribution with absolute humility. The conclusion, for instance, begins with a series of caveats about what the book does not do, what the reader might or might not have taken from their read, and this kind of speculation appears throughout. This is again a double-edged sword. It is admirable in that it works against overzealous contribution-claiming, but this humility also risks understating the vital contribution this book makes to social and cultural geography.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"29 1","pages":"326 - 327"},"PeriodicalIF":1.6,"publicationDate":"2021-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45079625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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