Pub Date : 2022-05-25DOI: 10.1177/14744740221100837
C. Boyd, Elizabeth R. Straughan
Cultural geography has a long tradition of embracing video as both an observational method and a form of public engagement with research findings. In this article, we describe the making of Posthuman Landscapes, a silent film composed of moving panoramic images depicting the landscapes of three regional Australian towns (Griffith, Port Hedland, and Port Lincoln), along with creative writing that responded to the material qualities of those places in the form of ‘tweets’. Created as part of Boyd’s 3-year project called ‘Engaging Youth in Regional Australia’, the film formed part of a touring exhibition designed to disseminate research findings to communities within these towns. As artist-geographers, we approached the making of the video from a posthuman perspective in which the human and non-human are entangled. Our conceptual guide for working creatively with the landscapes was the posthuman concept of enchantment, which considers how the extraordinary can appear within the everyday to shake and disrupt ordinary affects. The concept of enchantment inspired us to juxtapose the inevitable familiarity and unfamiliarity that the audiences in these three towns would encounter through the film as it traveled from place to place. Here, we discuss how this juxtaposition of the familiar and unfamiliar was layered through both our film-making and writing practices, how this juxtaposition attempted to promote a posthuman orientation to landscape, and how such creative engagements contribute to knowledge translation in cultural geographical research.
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Pub Date : 2022-05-25DOI: 10.1177/14744740221096090
C. Rosati
Obscenity and pornographic culture did not disappear with Times Square’s gentrification in the 1990s. Rather, gentrification inaugurated new obscene cultural forms, displaying the opulence of celebrity and the enclosed spaces of media production. Using observations and interviews with production staff at Total Request Live (1998–2008), the flagship music countdown show on the MTV cable network, the essay examines techniques of incorporating audiences and audience-generated content into late-1990s/early-2000s TV production, just before social media’s rise. It examines media production within a material urban process, not simply producing ideology or images, but inciting and laboring on forms of self-exposure and a quasi-erotic excitement of watching others transgress deepening class hierarchies. The essay describes the urban material foundations of this cultural form as infrastructures of obscenity. For this, it theorizes obscenity beyond sex and explicitly erotic content. It likewise proposes obscenity as an alternative to standard analytical approaches to media, like ‘ritual’, ‘transgression’ and carnivalesque ‘inversion’ or resistance, which are insufficient to understand the production techniques at TRL. It connects those insights to Times Square’s millennial transformations, focusing on the strategies used by MTV’s Midtown Studio in the production of TRL. The analysis demonstrates how the social production of new architectural and infrastructural strategies in Times Square’s post-Disney Store period used highly staged audience engagement to build a recursive, shared experience of obscenity through transgression, prurience, intensity, and authenticity. The infrastructures of obscenity approach complements theories of active viewership but also problematizes viewers’ activity as fully-formed resistance or ‘subversion,’ implicitly or explicitly. This essay’s evidence illustrates how an opposing organizational project by media capital happens, imperfectly, pragmatically, and perhaps even contrary to many theoretical assumptions about how audiences and industry encounter each other, provoking further an engagement with contradiction, ambivalence, and labor to materially organize the heterogeneity of social feeling.
{"title":"Infrastructures of obscenity: Total Request Live and participatory TV production in action","authors":"C. Rosati","doi":"10.1177/14744740221096090","DOIUrl":"https://doi.org/10.1177/14744740221096090","url":null,"abstract":"Obscenity and pornographic culture did not disappear with Times Square’s gentrification in the 1990s. Rather, gentrification inaugurated new obscene cultural forms, displaying the opulence of celebrity and the enclosed spaces of media production. Using observations and interviews with production staff at Total Request Live (1998–2008), the flagship music countdown show on the MTV cable network, the essay examines techniques of incorporating audiences and audience-generated content into late-1990s/early-2000s TV production, just before social media’s rise. It examines media production within a material urban process, not simply producing ideology or images, but inciting and laboring on forms of self-exposure and a quasi-erotic excitement of watching others transgress deepening class hierarchies. The essay describes the urban material foundations of this cultural form as infrastructures of obscenity. For this, it theorizes obscenity beyond sex and explicitly erotic content. It likewise proposes obscenity as an alternative to standard analytical approaches to media, like ‘ritual’, ‘transgression’ and carnivalesque ‘inversion’ or resistance, which are insufficient to understand the production techniques at TRL. It connects those insights to Times Square’s millennial transformations, focusing on the strategies used by MTV’s Midtown Studio in the production of TRL. The analysis demonstrates how the social production of new architectural and infrastructural strategies in Times Square’s post-Disney Store period used highly staged audience engagement to build a recursive, shared experience of obscenity through transgression, prurience, intensity, and authenticity. The infrastructures of obscenity approach complements theories of active viewership but also problematizes viewers’ activity as fully-formed resistance or ‘subversion,’ implicitly or explicitly. This essay’s evidence illustrates how an opposing organizational project by media capital happens, imperfectly, pragmatically, and perhaps even contrary to many theoretical assumptions about how audiences and industry encounter each other, provoking further an engagement with contradiction, ambivalence, and labor to materially organize the heterogeneity of social feeling.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"30 1","pages":"71 - 86"},"PeriodicalIF":1.6,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43208499","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 : 2022-05-18DOI: 10.1177/14744740221096102
C. Johnston, Aphra Holland Bonnett
This essay combines text and photographs to animate and engage the 2021 Extinction Rebellion protests in London. The work draws attention to the Rebellion’s creative interventions in public space and identifies and explores five modes of geographical street activism. We offer this encounter and visual report in the hope that it might inspire geographers to imagine and launch their own ‘impossible rebellion’ in the wake of environmental emergency.
{"title":"Picturing these days of love and rage: Extinction Rebellion’s ‘Impossible Rebellion’","authors":"C. Johnston, Aphra Holland Bonnett","doi":"10.1177/14744740221096102","DOIUrl":"https://doi.org/10.1177/14744740221096102","url":null,"abstract":"This essay combines text and photographs to animate and engage the 2021 Extinction Rebellion protests in London. The work draws attention to the Rebellion’s creative interventions in public space and identifies and explores five modes of geographical street activism. We offer this encounter and visual report in the hope that it might inspire geographers to imagine and launch their own ‘impossible rebellion’ in the wake of environmental emergency.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"30 1","pages":"315 - 323"},"PeriodicalIF":1.6,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41662694","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 : 2022-05-10DOI: 10.1177/14744740221096091
D. Tutchener, Daniel Turnbull
This article discusses social spaces within Bunurong Country, Australia, and the production and recording of Aboriginal cultural values. Among the broader Australian community, there is a considerable appetite for the incorporation of ‘authentic’ Aboriginal cultural values into various Western processes, such as the planning, heritage and environmental sectors. This article argues that by establishing Aboriginal control of how these values are produced, significant cultural meanings and connections can be made in relation to Country. Utilizing a ‘two toolbox’ approach as a way to integrate Aboriginal and Western structures, it outlines and explains a framework for discussing Aboriginal cultural values, as defined by Bunurong knowledge holders, as a tool to record and link the context of these values to community-generated outcomes. This framework is designed to be applied as a method for recording Aboriginal cultural values within cultural landscapes, to produce social spaces with meaning and dignity for Bunurong people.
{"title":"Aboriginal cultural values framework: producing and communicating Bunurong values and meanings within Bunurong Country","authors":"D. Tutchener, Daniel Turnbull","doi":"10.1177/14744740221096091","DOIUrl":"https://doi.org/10.1177/14744740221096091","url":null,"abstract":"This article discusses social spaces within Bunurong Country, Australia, and the production and recording of Aboriginal cultural values. Among the broader Australian community, there is a considerable appetite for the incorporation of ‘authentic’ Aboriginal cultural values into various Western processes, such as the planning, heritage and environmental sectors. This article argues that by establishing Aboriginal control of how these values are produced, significant cultural meanings and connections can be made in relation to Country. Utilizing a ‘two toolbox’ approach as a way to integrate Aboriginal and Western structures, it outlines and explains a framework for discussing Aboriginal cultural values, as defined by Bunurong knowledge holders, as a tool to record and link the context of these values to community-generated outcomes. This framework is designed to be applied as a method for recording Aboriginal cultural values within cultural landscapes, to produce social spaces with meaning and dignity for Bunurong people.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"30 1","pages":"141 - 149"},"PeriodicalIF":1.6,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46792229","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 : 2022-05-02DOI: 10.1177/14744740221086260
Maria Lindmäe
This paper studies the sonic production of weekly markets through an analysis of the acoustic tactics employed by both authorized and unauthorized traders in two street markets of Catalonia. A three-fold typology of pitchers – the Repeaters, the Influencers and the Silenced – is presented to illustrate the different levels of creativity at play in contesting marketplace regulations that prohibit this “noisy” form of advertising. The paper builds on Jacques Attali’s1 idea of the control of sound and noise being inscribed in the panoply of power; a noisy market is thus understood as a statement against the authorities and as a failure to orchestrate a harmonious public space atmosphere. It is argued that as a professional skill and a cultural practice that is illegitimized by market regulations that aim to invoke civic behavior and stage representational place atmospheres, pitching contests dominant place narratives by involving creativity, affect and a political desire of recognition of difference. As such, pitching can shape more diverse marketplace atmospheres where the meanings of order and control are not unequivocal.
{"title":"“¡Tengo gloria bendita!”: pitching and the sonic production of place atmospheres under increasing marketplace regulation","authors":"Maria Lindmäe","doi":"10.1177/14744740221086260","DOIUrl":"https://doi.org/10.1177/14744740221086260","url":null,"abstract":"This paper studies the sonic production of weekly markets through an analysis of the acoustic tactics employed by both authorized and unauthorized traders in two street markets of Catalonia. A three-fold typology of pitchers – the Repeaters, the Influencers and the Silenced – is presented to illustrate the different levels of creativity at play in contesting marketplace regulations that prohibit this “noisy” form of advertising. The paper builds on Jacques Attali’s1 idea of the control of sound and noise being inscribed in the panoply of power; a noisy market is thus understood as a statement against the authorities and as a failure to orchestrate a harmonious public space atmosphere. It is argued that as a professional skill and a cultural practice that is illegitimized by market regulations that aim to invoke civic behavior and stage representational place atmospheres, pitching contests dominant place narratives by involving creativity, affect and a political desire of recognition of difference. As such, pitching can shape more diverse marketplace atmospheres where the meanings of order and control are not unequivocal.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"29 1","pages":"515 - 529"},"PeriodicalIF":1.6,"publicationDate":"2022-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45658813","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 : 2022-04-18DOI: 10.1177/14744740221086262
J. Ash, R. Gordon, Sarah Mills
This paper examines work in cultural and human geography that theorises temporality in terms of events. Moving from humanist phenomenology, to non-representational and assemblage theories and current geographies of encounter, it suggests these accounts of events tend to analyse the past and future through the lens of the present. Building upon these literatures and the work of Tristan Garcia, the paper argues for an expanded notion of the event, where past and future events can be considered as both distinct from, and linked to, the present moment. Here, time comes to be defined as the ordering and stacking of events, where events are understood as sites of comprehension, in which entities are differentiated. The paper suggests this position is useful in order to trace temporal causality across and between entities and events. Tracing the causality of entities and their ordering and stacking across events enables a closer analysis of what the paper terms the temporal power of non-human things. To illustrate this argument, examples from an ESRC project on digital gaming and in-game purchasing are analysed.
{"title":"Geographies of the event? Rethinking time and power through digital interfaces","authors":"J. Ash, R. Gordon, Sarah Mills","doi":"10.1177/14744740221086262","DOIUrl":"https://doi.org/10.1177/14744740221086262","url":null,"abstract":"This paper examines work in cultural and human geography that theorises temporality in terms of events. Moving from humanist phenomenology, to non-representational and assemblage theories and current geographies of encounter, it suggests these accounts of events tend to analyse the past and future through the lens of the present. Building upon these literatures and the work of Tristan Garcia, the paper argues for an expanded notion of the event, where past and future events can be considered as both distinct from, and linked to, the present moment. Here, time comes to be defined as the ordering and stacking of events, where events are understood as sites of comprehension, in which entities are differentiated. The paper suggests this position is useful in order to trace temporal causality across and between entities and events. Tracing the causality of entities and their ordering and stacking across events enables a closer analysis of what the paper terms the temporal power of non-human things. To illustrate this argument, examples from an ESRC project on digital gaming and in-game purchasing are analysed.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"30 1","pages":"3 - 18"},"PeriodicalIF":1.6,"publicationDate":"2022-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43013942","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 : 2022-04-11DOI: 10.1177/14744740221086258
Samuel Strong
Food banks are a growing feature of austerity Britain. Despite this, little research has focused on the object central to their operations: the food they provision. In charting an attempt to “open” food bank parcels to greater scrutiny, this article highlights the need to take back taste from predominantly nutritionist framings of food. Drawing on recent work in more-than-representational and visceral geography, it is argued that taste must be understood as an embodied, sensorial and social phenomenon. However, this article highlights the ethico-political dilemmas that accompany such an undertaking, and the wider implications raised by studying the tastes of socially and economically marginalised groups. These tensions are explored through recourse to the political, ethical and epistemological stakes of auto-corporeal methods – in this case, employing my own tasting body in consuming a “food bank diet.” In arguing that such an approach is necessarily wedded to forms of failure and privilege, this undertaking reveals the need to scrutinise the more-than-tasted features of power and space that shape the relational landscapes of Food Bank Britain. By working with these failures, this article concludes that the potential of such corporeal methods lies not in producing “data,” but instead in unlearning and scrutinising one’s embodied privileges in the face of poverty.
{"title":"Taking back taste in food bank Britain: on privilege, failure and (un)learning with auto-corporeal methods","authors":"Samuel Strong","doi":"10.1177/14744740221086258","DOIUrl":"https://doi.org/10.1177/14744740221086258","url":null,"abstract":"Food banks are a growing feature of austerity Britain. Despite this, little research has focused on the object central to their operations: the food they provision. In charting an attempt to “open” food bank parcels to greater scrutiny, this article highlights the need to take back taste from predominantly nutritionist framings of food. Drawing on recent work in more-than-representational and visceral geography, it is argued that taste must be understood as an embodied, sensorial and social phenomenon. However, this article highlights the ethico-political dilemmas that accompany such an undertaking, and the wider implications raised by studying the tastes of socially and economically marginalised groups. These tensions are explored through recourse to the political, ethical and epistemological stakes of auto-corporeal methods – in this case, employing my own tasting body in consuming a “food bank diet.” In arguing that such an approach is necessarily wedded to forms of failure and privilege, this undertaking reveals the need to scrutinise the more-than-tasted features of power and space that shape the relational landscapes of Food Bank Britain. By working with these failures, this article concludes that the potential of such corporeal methods lies not in producing “data,” but instead in unlearning and scrutinising one’s embodied privileges in the face of poverty.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"30 1","pages":"453 - 470"},"PeriodicalIF":1.6,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44688114","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 : 2022-03-26DOI: 10.1177/14744740221086264
Julian Holloway
This paper investigates how sound produces and transforms space and place as it moves and travels. In charting the movement of sound from field recording to music studio, and from rehearsal to performance space, this paper examines the aesthetic and affective geographies that are developed and the consequences of this travel. This argument is illustrated through the example of an artistic project that sought to explore the anti- or non-idyllic practice and experience of the British countryside in sonic and musical form. The notion that there are stranger and eerie, less bucolic, and more unnerving, versions of rurality formed the artistic impulse for this project. The paper explores the creative, emotional, and technical labour involved in translating this idea into sound and music. Through inspecting the processes of achieving this project, and the geographies it generated, the paper argues that it was in the translation and movement of sound through space and through different places that the project was – sometimes unexpectedly – realised. Thus, sonic atmospheres and affective charges of the eerie rural emerged because of this movement-transformation as much it did from the different creative and technical practices, and active sonic-interventions, that sought to achieve it.
{"title":"Moving sonic geographies: realising the Eerie countryside in music and sound","authors":"Julian Holloway","doi":"10.1177/14744740221086264","DOIUrl":"https://doi.org/10.1177/14744740221086264","url":null,"abstract":"This paper investigates how sound produces and transforms space and place as it moves and travels. In charting the movement of sound from field recording to music studio, and from rehearsal to performance space, this paper examines the aesthetic and affective geographies that are developed and the consequences of this travel. This argument is illustrated through the example of an artistic project that sought to explore the anti- or non-idyllic practice and experience of the British countryside in sonic and musical form. The notion that there are stranger and eerie, less bucolic, and more unnerving, versions of rurality formed the artistic impulse for this project. The paper explores the creative, emotional, and technical labour involved in translating this idea into sound and music. Through inspecting the processes of achieving this project, and the geographies it generated, the paper argues that it was in the translation and movement of sound through space and through different places that the project was – sometimes unexpectedly – realised. Thus, sonic atmospheres and affective charges of the eerie rural emerged because of this movement-transformation as much it did from the different creative and technical practices, and active sonic-interventions, that sought to achieve it.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"29 1","pages":"547 - 563"},"PeriodicalIF":1.6,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49473379","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 : 2022-03-26DOI: 10.1177/14744740221086266
Janet Banfield
Little Amal is a giant puppet who walked across Europe in 2021 to highlight the plight of child refugees. This paper reflects on my experience of her visit to Oxford, UK, critically evaluating the political potential of the event through Amal’s status as stranger and arguing that the practice of walking with Amal provides new but qualified political potency.
{"title":"Walking with amal: the politics of the stranger","authors":"Janet Banfield","doi":"10.1177/14744740221086266","DOIUrl":"https://doi.org/10.1177/14744740221086266","url":null,"abstract":"Little Amal is a giant puppet who walked across Europe in 2021 to highlight the plight of child refugees. This paper reflects on my experience of her visit to Oxford, UK, critically evaluating the political potential of the event through Amal’s status as stranger and arguing that the practice of walking with Amal provides new but qualified political potency.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"29 1","pages":"603 - 609"},"PeriodicalIF":1.6,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46259669","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 : 2022-03-05DOI: 10.1177/14744740211068100
Márton Berki
As a result of the materialist (re-)turn in cultural geography and beyond, an exceptionally broad variety of matters and things has been taken into scholarly consideration. In spite of this rich and still rapidly expanding work, however, almost no attention has been paid to one of our most mundane, most everyday material objects – brick. Therefore, on the example of Hungarian ‘stamped bricks’, this paper shows how the whole spectrum of the ‘social’ might be represented in an utterly material form, on bricks – including ideology, politics, class relations, religion and spirituality, naturecultures, even sexuality. Connected to these, as the main theoretical contributions of the paper, I develop two arguments. First, I posit that in contrast to most representations, the ones on stamped bricks are ‘normally’ hidden. Second, I also argue that as thick and solid as bricks are, at the same time they may also be as highly sensitive litmus papers of changing societal conditions and relations. Hence, based on the examples of the paper, stamped bricks are presented as hidden socio-material entanglements.
{"title":"The ‘social’ within our walls: stamped bricks as hidden socio-material entanglements","authors":"Márton Berki","doi":"10.1177/14744740211068100","DOIUrl":"https://doi.org/10.1177/14744740211068100","url":null,"abstract":"As a result of the materialist (re-)turn in cultural geography and beyond, an exceptionally broad variety of matters and things has been taken into scholarly consideration. In spite of this rich and still rapidly expanding work, however, almost no attention has been paid to one of our most mundane, most everyday material objects – brick. Therefore, on the example of Hungarian ‘stamped bricks’, this paper shows how the whole spectrum of the ‘social’ might be represented in an utterly material form, on bricks – including ideology, politics, class relations, religion and spirituality, naturecultures, even sexuality. Connected to these, as the main theoretical contributions of the paper, I develop two arguments. First, I posit that in contrast to most representations, the ones on stamped bricks are ‘normally’ hidden. Second, I also argue that as thick and solid as bricks are, at the same time they may also be as highly sensitive litmus papers of changing societal conditions and relations. Hence, based on the examples of the paper, stamped bricks are presented as hidden socio-material entanglements.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"30 1","pages":"373 - 390"},"PeriodicalIF":1.6,"publicationDate":"2022-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47736212","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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