Pub Date : 2024-03-29DOI: 10.1177/14744740241241754
Sophie Anne Edwards
{"title":"Book review: Mrill Ingram, Loving Orphaned Space: The Art and Science of Belonging to Earth","authors":"Sophie Anne Edwards","doi":"10.1177/14744740241241754","DOIUrl":"https://doi.org/10.1177/14744740241241754","url":null,"abstract":"","PeriodicalId":505675,"journal":{"name":"cultural geographies","volume":"13 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140368695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-13DOI: 10.1177/14744740241236985
Richard Baxter
House biographies tend to focus on buildings’ pasts. By comparison, this article develops a house biography of futures for a modernist high-rise estate, the Aylesbury Estate in London. It argues that a house biography of futures explores the multiple futures of house, building, estate and the built environment. To provide the biography the fieldwork involved archival research, oral history interviews and home tours, semi structured in-depth interviews and photography. The article reveals the history of governed futures at the estate. Multiple modes of future governance unfolded, such as a modernist future and regeneration, due to the indeterminacy of the future. There were a range of everyday home futures, including a modernist domesticity and more ordinary futures, with the future present in the estate’s materiality and residents’ lived experiences. The article draws attention to the multiple futures of home.
{"title":"Home futures: a house biography of futures for a modernist high-rise estate","authors":"Richard Baxter","doi":"10.1177/14744740241236985","DOIUrl":"https://doi.org/10.1177/14744740241236985","url":null,"abstract":"House biographies tend to focus on buildings’ pasts. By comparison, this article develops a house biography of futures for a modernist high-rise estate, the Aylesbury Estate in London. It argues that a house biography of futures explores the multiple futures of house, building, estate and the built environment. To provide the biography the fieldwork involved archival research, oral history interviews and home tours, semi structured in-depth interviews and photography. The article reveals the history of governed futures at the estate. Multiple modes of future governance unfolded, such as a modernist future and regeneration, due to the indeterminacy of the future. There were a range of everyday home futures, including a modernist domesticity and more ordinary futures, with the future present in the estate’s materiality and residents’ lived experiences. The article draws attention to the multiple futures of home.","PeriodicalId":505675,"journal":{"name":"cultural geographies","volume":"31 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140247832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-27DOI: 10.1177/14744740241233700
Edward Brookes
This article contributes to cultural geography’s continued interest in exploring how images and photographic practices have shaped representations and engagements with architectural space. Using the Robin Hood Gardens Estate – a Brutalist social housing estate in East London as an example, it interrogates how visual strategies associated with the grid, the interruption and the ruin shape different narratives and representations of Brutalist architecture. At the same time, it extends discussions within cultural geography which surround Brutalism and the role that representations play in how the built landscape is mediated, politicised and encountered through different image making strategies, highlighting the importance of the ‘image’ to Brutalism as a style. It concludes by asserting the value of exploring how buildings are represented and how different photographic and image making practices continue to mediate our engagement with the built landscape and inform wider politics associated with specific architectural styles.
{"title":"Robin Hood Gardens and the Brutalist Image","authors":"Edward Brookes","doi":"10.1177/14744740241233700","DOIUrl":"https://doi.org/10.1177/14744740241233700","url":null,"abstract":"This article contributes to cultural geography’s continued interest in exploring how images and photographic practices have shaped representations and engagements with architectural space. Using the Robin Hood Gardens Estate – a Brutalist social housing estate in East London as an example, it interrogates how visual strategies associated with the grid, the interruption and the ruin shape different narratives and representations of Brutalist architecture. At the same time, it extends discussions within cultural geography which surround Brutalism and the role that representations play in how the built landscape is mediated, politicised and encountered through different image making strategies, highlighting the importance of the ‘image’ to Brutalism as a style. It concludes by asserting the value of exploring how buildings are represented and how different photographic and image making practices continue to mediate our engagement with the built landscape and inform wider politics associated with specific architectural styles.","PeriodicalId":505675,"journal":{"name":"cultural geographies","volume":"17 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140426803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-23DOI: 10.1177/14744740241234288
Rachel Hann
This article investigates the role of scenographics in staging climate crisis cultures. The art collective SUPERFLEX’s installation It Is Not The End Of The World (Copenhagen 2019) explored human-world relations through techniques of set design, lighting, sound and costume. Central to this was a detailed 1-to-1 scale replica of the UN Building toilets re-imagined as an archaeology of a future without humans. While described as an ‘installation’, It Is Not. . . is adopted as a case study that exemplifies the role of scenographics in irritating a sense of place and is argued as affording insight into the assemblages of place, world and atmosphere. Drawing upon Global South philosopher Arturo Escobar’s ‘pluriversal design’, I offer an argument for scenographics as a methodology when investigating world feelings in an era of climate crisis. ‘Pluriversal scenographics’ is proposed as a critical framework for the staging of nondualistic, relational and more-than-human ‘possible reals’. Pluriversal concepts are proposed as a model for renewing the political purpose of scenographic practice as a methodology for investigating world feelings. I conclude with a call for a renewed political task of scenography and the value of this perspective for theatre makers, arts professionals and cultural geographers.
{"title":"Pluriversal scenographics and staging world feelings: climate crisis in SUPERFLUX’s ‘It Is Not The End Of The World’","authors":"Rachel Hann","doi":"10.1177/14744740241234288","DOIUrl":"https://doi.org/10.1177/14744740241234288","url":null,"abstract":"This article investigates the role of scenographics in staging climate crisis cultures. The art collective SUPERFLEX’s installation It Is Not The End Of The World (Copenhagen 2019) explored human-world relations through techniques of set design, lighting, sound and costume. Central to this was a detailed 1-to-1 scale replica of the UN Building toilets re-imagined as an archaeology of a future without humans. While described as an ‘installation’, It Is Not. . . is adopted as a case study that exemplifies the role of scenographics in irritating a sense of place and is argued as affording insight into the assemblages of place, world and atmosphere. Drawing upon Global South philosopher Arturo Escobar’s ‘pluriversal design’, I offer an argument for scenographics as a methodology when investigating world feelings in an era of climate crisis. ‘Pluriversal scenographics’ is proposed as a critical framework for the staging of nondualistic, relational and more-than-human ‘possible reals’. Pluriversal concepts are proposed as a model for renewing the political purpose of scenographic practice as a methodology for investigating world feelings. I conclude with a call for a renewed political task of scenography and the value of this perspective for theatre makers, arts professionals and cultural geographers.","PeriodicalId":505675,"journal":{"name":"cultural geographies","volume":"214 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140437637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-21DOI: 10.1177/14744740241233699
Miguel Santos, John Wainwright
This article elaborates on an artist-in-residence project funded by the Leverhulme Trust in the Geography Department at Durham University in 2015–16. The project confronted artistic and scientific perspectives to investigate how people in the North-East of England perceive and value their river environments and to recognize potential contributions to catchment management. The project identified a variety of disconnexions and hierarchies in the River Wear catchment and formulated artistic interventions for nonhuman audiences. This article reflects on water holistically and explores transdisciplinary views to propose water in its expanded field. Water in the Expanded Field is plural, complex, and aims at decentering the human importance. It promotes water multiple perspectives, including the more-than-human world and acknowledging water’s ontological importance, developed by the speculative artistic practice of producing works of art for nonhuman audiences and then transposed to water debates. The article converges distinct evidence pointing to the importance of composting existing knowledge and dualistic reasoning to promote pluriversal ontologies of water.
{"title":"River(s) Wear: Water in the Expanded Field","authors":"Miguel Santos, John Wainwright","doi":"10.1177/14744740241233699","DOIUrl":"https://doi.org/10.1177/14744740241233699","url":null,"abstract":"This article elaborates on an artist-in-residence project funded by the Leverhulme Trust in the Geography Department at Durham University in 2015–16. The project confronted artistic and scientific perspectives to investigate how people in the North-East of England perceive and value their river environments and to recognize potential contributions to catchment management. The project identified a variety of disconnexions and hierarchies in the River Wear catchment and formulated artistic interventions for nonhuman audiences. This article reflects on water holistically and explores transdisciplinary views to propose water in its expanded field. Water in the Expanded Field is plural, complex, and aims at decentering the human importance. It promotes water multiple perspectives, including the more-than-human world and acknowledging water’s ontological importance, developed by the speculative artistic practice of producing works of art for nonhuman audiences and then transposed to water debates. The article converges distinct evidence pointing to the importance of composting existing knowledge and dualistic reasoning to promote pluriversal ontologies of water.","PeriodicalId":505675,"journal":{"name":"cultural geographies","volume":"5 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140442706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-06DOI: 10.1177/14744740241230697
Nipesh Palat Narayanan, Natasha Cornea
Urban imaginations, imageries and conceptualizations are always plural and illustrate the formation of knowledge hegemonies. In this article, we engage with the problematic of reading infrastructures with a southern theory lens. We explore multiple imaginations, imageries and conceptualizations of the Kirulapana Canal in Colombo via everyday practices. Analysing the geographical imaginations of the state officials and residents, we illustrate (i) how varied imageries draws from the same hegemonic register, and (ii) how this process reinforces and correspondingly in-turn constructs hegemonic imageries. Using these illustrations, this article will broaden the southern theory discussions via analysing the everyday formation of the metropolis (concentration of knowledge and power) and knowledge hegemony.
{"title":"How many Kirulapana Canals are there in Colombo? Reading everyday imageries and imaginations using southern theory","authors":"Nipesh Palat Narayanan, Natasha Cornea","doi":"10.1177/14744740241230697","DOIUrl":"https://doi.org/10.1177/14744740241230697","url":null,"abstract":"Urban imaginations, imageries and conceptualizations are always plural and illustrate the formation of knowledge hegemonies. In this article, we engage with the problematic of reading infrastructures with a southern theory lens. We explore multiple imaginations, imageries and conceptualizations of the Kirulapana Canal in Colombo via everyday practices. Analysing the geographical imaginations of the state officials and residents, we illustrate (i) how varied imageries draws from the same hegemonic register, and (ii) how this process reinforces and correspondingly in-turn constructs hegemonic imageries. Using these illustrations, this article will broaden the southern theory discussions via analysing the everyday formation of the metropolis (concentration of knowledge and power) and knowledge hegemony.","PeriodicalId":505675,"journal":{"name":"cultural geographies","volume":"4 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139800188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-06DOI: 10.1177/14744740241230697
Nipesh Palat Narayanan, Natasha Cornea
Urban imaginations, imageries and conceptualizations are always plural and illustrate the formation of knowledge hegemonies. In this article, we engage with the problematic of reading infrastructures with a southern theory lens. We explore multiple imaginations, imageries and conceptualizations of the Kirulapana Canal in Colombo via everyday practices. Analysing the geographical imaginations of the state officials and residents, we illustrate (i) how varied imageries draws from the same hegemonic register, and (ii) how this process reinforces and correspondingly in-turn constructs hegemonic imageries. Using these illustrations, this article will broaden the southern theory discussions via analysing the everyday formation of the metropolis (concentration of knowledge and power) and knowledge hegemony.
{"title":"How many Kirulapana Canals are there in Colombo? Reading everyday imageries and imaginations using southern theory","authors":"Nipesh Palat Narayanan, Natasha Cornea","doi":"10.1177/14744740241230697","DOIUrl":"https://doi.org/10.1177/14744740241230697","url":null,"abstract":"Urban imaginations, imageries and conceptualizations are always plural and illustrate the formation of knowledge hegemonies. In this article, we engage with the problematic of reading infrastructures with a southern theory lens. We explore multiple imaginations, imageries and conceptualizations of the Kirulapana Canal in Colombo via everyday practices. Analysing the geographical imaginations of the state officials and residents, we illustrate (i) how varied imageries draws from the same hegemonic register, and (ii) how this process reinforces and correspondingly in-turn constructs hegemonic imageries. Using these illustrations, this article will broaden the southern theory discussions via analysing the everyday formation of the metropolis (concentration of knowledge and power) and knowledge hegemony.","PeriodicalId":505675,"journal":{"name":"cultural geographies","volume":"467 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139859867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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