Political Geography最新文献

This article explores the ways that bodies are imagined and enrolled in a digital political project in the context of Bosnia and Herzegovina. Using data from online and in-person fieldwork over the course of 2020–22, I follow a small group of young people in Tuzla, Bosnia and Herzegovina, who spend their days running CAT (Citizens Against Terrorism), a self-described anti-fascist meme group active on platforms such as Twitter/X, Facebook, and Instagram, as well as their own website. Behind the seeming unseriousness of this endeavour is a deliberate approach, grounded in the view that Bosnian youth are not apathetic, but ignored; that they are actively being targeted by the far right through memes and other mirthful means; and that attempts to engage youth in left political action must meet them on their own turf. As they attempt to meet young people where they are, the CATs engage in what they call “more-than-activism”, a serendipitous nod to the more-than-real spaces they create through their digital and physical activities. Drawing on cyberfeminism and recent work in digital geography, the article argues for an approach to young people’s politics that is sensitive to their embodied experiences, including in the digital parts of their lives. Through a more-than-real approach, we can understand how seemingly ephemeral objects like memes come to matter in the making and unmaking of political projects.

In this paper I share insights and thoughts on the ‘doing’ of creative practice for representing and communicating lived experiences of slow violence. Reflecting on two UKRI GCRF studies I have been part of in Cambodia, and which both harnessed creative practice in their methodologies, I focus specifically on the slow violence of over-indebtedness effecting garment workers and farmers during, but also pre-dating, the COVID-19 pandemic. The paper intentionally ‘makes space’ for the films and portraiture photography from these studies to be viewed and exalted – the aim being to encourage political geographers to become more attuned to, and themselves embrace, the ‘doing’ of creative practice. Together they show first how the ‘doing’ of creative practice can deepen and add new dimensions to growing work on embodied relations and temporalities of debt and over-indebtedness. Second, the insights offered in this paper underscore the ethical importance of care, responsibility, and trust in geographical knowledge creation and the management of research projects concerned with slow violence. The paper ultimately impresses the dual value of the ‘doing’ of creative practice and its myriad politics, and being more attentive to what can be learned through creative practice itself about the political geographies of slow violence encountered in people's lives.

What are the patterns and predictors of corruption across space and time? Existing studies have approached this question either through descriptive statistics or spatiotemporal autocorrelation analysis. Moreover, they have primarily relied on ad hoc predictor sets. This paper, however, implements emerging hot spot analysis and geographically and temporally weighted regression (GTWR) to examine corruption heterogeneity across Vietnam. In so doing, it draws on ecological complexity theory and informal payments data over the 2006–2020 period. Subsequently, emerging hot spot analysis indicates corruption is declining in every Vietnamese region. At the same time, GTWR elaborates on corruption's spatiotemporal heterogeneity: (a) only two predictors (i.e., net migration and proactivity) have consistent positive or negative associations with corruption; and (b) the variance of most predictors' corruption impact is high. Furthermore, whereas labor has the strongest corruption impact in North Vietnam, provincial leaders' proactivity takes precedence in Central and South Vietnam. These findings, then, underscore the significance of incorporating ecological complexity theory into the study of corruption.

The tactical struggle to carve out space-times free from the entangling logics of digital media attempts to reassert the sovereign subject. This project of disentangling goes beyond simply turning off, rejecting, or disconnecting from digital technologies. More ambitiously it works both within and against the logic of surveillance capitalism, an emerging regime which generates habits of attention as well as psychological and social forms of media dependence, in turn supplying third-party users with a durable supply of rendered behavioral data. Semi-structured interviews conducted with a sample of 20 subjects from North America reveal an ongoing quotidian struggle to maintain freedom, power, autonomy and self-direction while carving out a sort of hybrid territory around oneself. Excerpts from the interviews reveal a context-dependent set of practices, occurring in particular ways, at particular times, for particular purposes, with particular communications before and after. In addition, they show the provisional achievement of distance from entangling systems that seem to offer freedom to do things while in fact achieving microscopically targeted control. They reveal a spatial strategy involving a range of tactics for navigating the spaces of the attention/surveillance economy, appropriating digital media, and carving out spaces for personal agency in a mediatized society.

Museums form a core institutional foundation to the formation of national identities. They reflect, obfuscate, perform, and shape national narrative and discourse, particularly when operated at the national scale. In Wales, the national museum system is public and composed of seven museums. These national museums negotiate scale in complex, but perhaps not necessarily unique, ways as they root themselves into local communities and regions, operationalize themselves alongside other regional, national, and state heritage institutions, and increasingly inform, support, and draw upon inter- and transnational heritage. How do collective memories or national narratives translate or articulate across scales and landscapes into and from a central bureaucracy, particularly one which came under limited control of democratically-elected Welsh governing bodies in 1997? While geographers have historically included museums within our broader purview, particularly in historical and cultural contexts, few studies have asked how a transcalar, multi-thematic, and dispersed public museum system could be approached via a bureaucratic political geography. This paper aims to address the place for geography at the intersection of nation, state, memory, and museum within the context of National Museum Wales and argues for greater consideration of institutional and bureaucratic memory work within nation-building.