Pub Date : 2021-06-21DOI: 10.1080/2373566x.2021.1913436
Aya Nassar
In this paper, I perform an approach for a material and affective geography of the postcolonial city that is developed from within the spaces of Cairo and its archives. I propose storytelling the c...
{"title":"Geopoetics as Disruptive Aesthetics: Vignettes from Cairo","authors":"Aya Nassar","doi":"10.1080/2373566x.2021.1913436","DOIUrl":"https://doi.org/10.1080/2373566x.2021.1913436","url":null,"abstract":"In this paper, I perform an approach for a material and affective geography of the postcolonial city that is developed from within the spaces of Cairo and its archives. I propose storytelling the c...","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88460709","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 : 2021-06-21DOI: 10.1080/2373566X.2021.1915699
G. Verstraete, J. Adriaanse, Ester van de Wiel, David Hamers
This contribution aims at reframing the concept of circular economy (CE) through an experiment with, and reflection on, research-through-design practices. We depart from CE as an efficient process of tidying up or closing circles to open up a discussion of ways cities can productively engage with flows of residual materials as resources in a social-material context. Taking an ecological approach, we investigate interconnected flows of things, people, and perspectives in concrete situations in the city of Rotterdam, the Netherlands. To that end we lean on the logic of assemblage, as developed in Actor- Network Theory, and discuss visualizing tools for putting theory into practice and for assembling researchers in design and the humanities in a circular ecology.
{"title":"Assembling Researchers in Design and the Humanities in a Circular Ecology","authors":"G. Verstraete, J. Adriaanse, Ester van de Wiel, David Hamers","doi":"10.1080/2373566X.2021.1915699","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1915699","url":null,"abstract":"This contribution aims at reframing the concept of circular economy (CE) through an experiment with, and reflection on, research-through-design practices. We depart from CE as an efficient process of tidying up or closing circles to open up a discussion of ways cities can productively engage with flows of residual materials as resources in a social-material context. Taking an ecological approach, we investigate interconnected flows of things, people, and perspectives in concrete situations in the city of Rotterdam, the Netherlands. To that end we lean on the logic of assemblage, as developed in Actor- Network Theory, and discuss visualizing tools for putting theory into practice and for assembling researchers in design and the humanities in a circular ecology.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75163825","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 : 2021-06-21eCollection Date: 2021-01-01DOI: 10.1080/2373566X.2021.1925574
Anthony Powis
This paper is part of a larger research project which draws out ways of knowing and thinking with groundwater from Chennai, south India. The (under)ground or (sub)terranean environment is a thick and complex, three-dimensional space of "nothing but change," but whose utility is essential to sustaining urban life above it. This paper looks at multiple, specific, and contradictory ways in which the materiality of groundwater is understood and intervened in. Using the case of the ongoing Chennai Metro Rail construction project, and its disciplinary cultures of representation, I bring attention to the ground and its waters as a composite system in both balance and unrest, and an active, vital component of the city. Through unpacking established concepts of strata, porosity, and pressure, I will cast groundwater not as an objective fact, always pictured by, and relative to, a human subject, but as an actual being which humans (and others beyond) perceive, relate to, and come into contact with. I close by drawing from this account a possible further set of concepts which groundwater generates-dynamic states which are common to human and material life-suggesting that a relational theory of groundwater materiality, based on leaking as opposed to bordering, might better respond to the ways in which groundwater troubles knowledge.
{"title":"The Relational Materiality of Groundwater.","authors":"Anthony Powis","doi":"10.1080/2373566X.2021.1925574","DOIUrl":"10.1080/2373566X.2021.1925574","url":null,"abstract":"<p><p>This paper is part of a larger research project which draws out ways of knowing and thinking with groundwater from Chennai, south India. The (under)ground or (sub)terranean environment is a thick and complex, three-dimensional space of \"nothing but change,\" but whose utility is essential to sustaining urban life above it. This paper looks at multiple, specific, and contradictory ways in which the materiality of groundwater is understood and intervened in. Using the case of the ongoing Chennai Metro Rail construction project, and its disciplinary cultures of representation, I bring attention to the ground and its waters as a composite system in both balance and unrest, and an active, vital component of the city. Through unpacking established concepts of strata, porosity, and pressure, I will cast groundwater not as an objective fact, always pictured by, and relative to, a human subject, but as an actual being which humans (and others beyond) perceive, relate to, and come into contact with. I close by drawing from this account a possible further set of concepts which groundwater generates-dynamic states which are common to human and material life-suggesting that a relational theory of groundwater materiality, based on leaking as opposed to bordering, might better respond to the ways in which groundwater troubles knowledge.</p>","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ftp.ncbi.nlm.nih.gov/pub/pmc/oa_pdf/a4/39/RGEO_7_1925574.PMC8372292.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"39335601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-07DOI: 10.1080/2373566X.2021.1904788
Darius Scott
This article aims to envision more just visual representations of Black spatial collectivity. In light of transformative work in critical cartography and recent turns to narrative cartography, digital mapping has arguably come to offer an opportunity for radical and democratized visualizations. However, the historical and contemporary anti-Blackness of mapping urges caution. Moreover, prominent critical cartographic urges to eschew normativity risk advancing diminished and distorted representations of historically Black communities. In turn, this article questions the extent to which visually countering the ongoing anti-Black work of dominant maps (e.g. erasure of Black communities) might avoid altogether appropriating the medium. Presented are animations created with audio clips from oral histories collected in rural Southern (US) communities. Created in collaboration with a professional animator, these brief animated clips do the work of countering historic erasure without reinforcing the hegemonic legibility of dominant cartographic productions.
{"title":"Normalized Alterity: Visualizing Black Spatial Humanities","authors":"Darius Scott","doi":"10.1080/2373566X.2021.1904788","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1904788","url":null,"abstract":"This article aims to envision more just visual representations of Black spatial collectivity. In light of transformative work in critical cartography and recent turns to narrative cartography, digital mapping has arguably come to offer an opportunity for radical and democratized visualizations. However, the historical and contemporary anti-Blackness of mapping urges caution. Moreover, prominent critical cartographic urges to eschew normativity risk advancing diminished and distorted representations of historically Black communities. In turn, this article questions the extent to which visually countering the ongoing anti-Black work of dominant maps (e.g. erasure of Black communities) might avoid altogether appropriating the medium. Presented are animations created with audio clips from oral histories collected in rural Southern (US) communities. Created in collaboration with a professional animator, these brief animated clips do the work of countering historic erasure without reinforcing the hegemonic legibility of dominant cartographic productions.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90628334","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 : 2021-06-04DOI: 10.1080/2373566X.2021.1904787
E. Hoover
This piece presents an exploration into how to write-do-think ineffable affective experiences that might cultivate more than human ethical relations in concrete environments. Learning from two urban commoning projects, I take guidance from Édouard Glissant’s aesthetic of the earth to recognize poetic practices that might seem anachronistic or naïve, awkward or intrusive, and in apparent contradiction to rational thought and critical politics. I adopt what Joan Retallack calls a “poethical attitude” to offer (reasoned) compositions with concrete as material and metaphor … mixed with a shimmer of alchemy.
{"title":"Poetic Commoning in European Cities – Or on the Alchemy of Concrete","authors":"E. Hoover","doi":"10.1080/2373566X.2021.1904787","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1904787","url":null,"abstract":"This piece presents an exploration into how to write-do-think ineffable affective experiences that might cultivate more than human ethical relations in concrete environments. Learning from two urban commoning projects, I take guidance from Édouard Glissant’s aesthetic of the earth to recognize poetic practices that might seem anachronistic or naïve, awkward or intrusive, and in apparent contradiction to rational thought and critical politics. I adopt what Joan Retallack calls a “poethical attitude” to offer (reasoned) compositions with concrete as material and metaphor … mixed with a shimmer of alchemy.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74825160","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 : 2021-06-04DOI: 10.1080/2373566X.2021.1907208
P. Howell, Ilanah Taves
This paper explores the history and political significance of black horsemen and horsewomen, using the appearance of mounted protesters at the 2020 Black Lives Matter rallies in the US to consider the role of the horse as both an adjunct of authority, in symbol and in material power, and as a partner in forms of protest and resistance. This paper begins with the brute power of the horse, and through its military and policing duties, its role supporting state authority. But we underline the racial framing of “the man on horseback,” using this figure not merely as a metaphor for military authority but as a representation of racialized power and as an adjunct to racial regimes. The significance of this figure is explored through the history of black horse riders and the “threat” that the image of the black rider poses to majority white culture. We examine the political value of placing black horse riders in the position of authority long claimed by white men and celebrated in public statuary and in art. The final section considers the black horsewoman, however, warning against disconnecting the martial model of masculinity from gender privileges as well as racial ones. The paper uses the example of black horsewomanship to argue for a better understanding of the partnership between human and nonhuman. In the performative politics of assembly that we call “political dressage” we suggest a distinctively more-than-human variety of “counter-conduct.”
{"title":"Black Protest and the Man on Horseback: Race, Animality, and Equestrian Counter-Conduct","authors":"P. Howell, Ilanah Taves","doi":"10.1080/2373566X.2021.1907208","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1907208","url":null,"abstract":"This paper explores the history and political significance of black horsemen and horsewomen, using the appearance of mounted protesters at the 2020 Black Lives Matter rallies in the US to consider the role of the horse as both an adjunct of authority, in symbol and in material power, and as a partner in forms of protest and resistance. This paper begins with the brute power of the horse, and through its military and policing duties, its role supporting state authority. But we underline the racial framing of “the man on horseback,” using this figure not merely as a metaphor for military authority but as a representation of racialized power and as an adjunct to racial regimes. The significance of this figure is explored through the history of black horse riders and the “threat” that the image of the black rider poses to majority white culture. We examine the political value of placing black horse riders in the position of authority long claimed by white men and celebrated in public statuary and in art. The final section considers the black horsewoman, however, warning against disconnecting the martial model of masculinity from gender privileges as well as racial ones. The paper uses the example of black horsewomanship to argue for a better understanding of the partnership between human and nonhuman. In the performative politics of assembly that we call “political dressage” we suggest a distinctively more-than-human variety of “counter-conduct.”","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77479831","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 : 2021-06-03DOI: 10.1080/2373566X.2021.1903811
Lydia Pelot-Hobbs
This photo essay traces the historical geography of Norco, Louisiana—heart of Louisiana’s petrochemical industrial complex. Norco, named for the first oil company sited there (the New Orleans Refinery Company), is the quintessential Louisiana petrochemical town, neither exceptional nor provincial, a place that for generations has been a nexus of struggles between racial capitalism’s extractive drive and the demands for collective life encapsulated in slave uprisings and environmental justice activism. Moreover, the fact that by the late 20th century, petrochemical pollution made the best path forward for residents of the historic Black freedom neighborhood Diamond was by fighting for relocation raises critical questions about the life and death work of just transition from oil capitalism.
{"title":"Life and Death in Louisiana’s Petrochemical Industrial Complex","authors":"Lydia Pelot-Hobbs","doi":"10.1080/2373566X.2021.1903811","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1903811","url":null,"abstract":"This photo essay traces the historical geography of Norco, Louisiana—heart of Louisiana’s petrochemical industrial complex. Norco, named for the first oil company sited there (the New Orleans Refinery Company), is the quintessential Louisiana petrochemical town, neither exceptional nor provincial, a place that for generations has been a nexus of struggles between racial capitalism’s extractive drive and the demands for collective life encapsulated in slave uprisings and environmental justice activism. Moreover, the fact that by the late 20th century, petrochemical pollution made the best path forward for residents of the historic Black freedom neighborhood Diamond was by fighting for relocation raises critical questions about the life and death work of just transition from oil capitalism.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77496158","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 : 2021-06-03DOI: 10.1080/2373566X.2021.1903814
Gunter Gassner
This essay explores drawing as an ethico-political practice. Taking London as an example, I speculate about a critical and creative, radical and imaginative engagement with speculative urbanization processes at a time when the extreme right is on the rise and the populist far right has become increasingly mainstream. Reflecting on a nonrepresentational drawing approach that responds to distantiated expert eyes by breaking free from their knowledge and pre-defined moral standards of the capitalist city, I explore different lines: lines that commodify the cityscape; lines that cross commodifying categories; lines that creatively produce alternatives; and lines of violent creativity. In so doing, I scrutinize conservative links between a visuality of capital accumulation and fascist urban aesthetics.
{"title":"Drawing as an Ethico-political Practice","authors":"Gunter Gassner","doi":"10.1080/2373566X.2021.1903814","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1903814","url":null,"abstract":"This essay explores drawing as an ethico-political practice. Taking London as an example, I speculate about a critical and creative, radical and imaginative engagement with speculative urbanization processes at a time when the extreme right is on the rise and the populist far right has become increasingly mainstream. Reflecting on a nonrepresentational drawing approach that responds to distantiated expert eyes by breaking free from their knowledge and pre-defined moral standards of the capitalist city, I explore different lines: lines that commodify the cityscape; lines that cross commodifying categories; lines that creatively produce alternatives; and lines of violent creativity. In so doing, I scrutinize conservative links between a visuality of capital accumulation and fascist urban aesthetics.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89464066","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 : 2021-06-02DOI: 10.1080/2373566X.2021.1903813
Chhandita Das, P. Tripathi
This article intends to critique the poetics of “literary cartography” and politics behind it through close analysis of Neelum Saran Gour’s representation of the city of Allahabad (recently renamed Prayagraj) in Invisible Ink (2015) and Requiem in Raga Janki (2018). Mapping of spatio-religious experiences in Gour’s fiction connotes that literary cartography is an emerging alternative field that can generate topographical knowledge visualizing intangible spatial ethos. Therefore, place becomes an important interdisciplinary construct to examine sociocultural and religious spaces through literary imagination. The preamble of the Indian constitution emphasizes secular ethics, which is currently debated as in a state of crisis. Rereading Gour’s narratives within and beyond the adaption of a topographic and figurative framework of literary cartography infers that such “mapping” of spatiocultural experiences can help in establishing and sensitizing a secular ethos across genres and geographies.
{"title":"Poetics and Politics of Literary Cartography: Secular Allahabad in Neelum Saran Gour’s Invisible Ink and Requiem in Raga Janki","authors":"Chhandita Das, P. Tripathi","doi":"10.1080/2373566X.2021.1903813","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1903813","url":null,"abstract":"This article intends to critique the poetics of “literary cartography” and politics behind it through close analysis of Neelum Saran Gour’s representation of the city of Allahabad (recently renamed Prayagraj) in Invisible Ink (2015) and Requiem in Raga Janki (2018). Mapping of spatio-religious experiences in Gour’s fiction connotes that literary cartography is an emerging alternative field that can generate topographical knowledge visualizing intangible spatial ethos. Therefore, place becomes an important interdisciplinary construct to examine sociocultural and religious spaces through literary imagination. The preamble of the Indian constitution emphasizes secular ethics, which is currently debated as in a state of crisis. Rereading Gour’s narratives within and beyond the adaption of a topographic and figurative framework of literary cartography infers that such “mapping” of spatiocultural experiences can help in establishing and sensitizing a secular ethos across genres and geographies.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80148930","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 : 2021-06-02DOI: 10.1080/2373566X.2021.1903812
M. Rhodes
Each year the National Eisteddfod alternates between north and south Wales in a festival that consistently redefines itself and what it means to be and perform Welshness. As a publicly funded and organized national institution, the National Eisteddfod’s performances, competitions, and pavilions reflect aspects of Welsh memory and heritage through traditional poetry, dance, and music. Likewise, this space is central to the continuing evolution of Welsh memory and Welsh music. The work of memory, language, and music during the annual ten-day festival in 2018 experienced numerous structural changes from customary eisteddfodau. Through musicals, folk music, carnivals, and other performances, music and memory in Cardiff Bay intersected with transatlantic identities, protest, and the deindustrialized urban setting. Using interviews and a transoptic landscape analysis, this paper explores the musical, performative, and national landscapes of the 2017 and 2018 National Eisteddfodau to better understand these emerging postcolonial, post-industrial, performative, and pluralized memories in Wales.
{"title":"The Nation, the Festival, and Institutionalized Memory: Transoptic Landscapes of the Welsh National Eisteddfod","authors":"M. Rhodes","doi":"10.1080/2373566X.2021.1903812","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1903812","url":null,"abstract":"Each year the National Eisteddfod alternates between north and south Wales in a festival that consistently redefines itself and what it means to be and perform Welshness. As a publicly funded and organized national institution, the National Eisteddfod’s performances, competitions, and pavilions reflect aspects of Welsh memory and heritage through traditional poetry, dance, and music. Likewise, this space is central to the continuing evolution of Welsh memory and Welsh music. The work of memory, language, and music during the annual ten-day festival in 2018 experienced numerous structural changes from customary eisteddfodau. Through musicals, folk music, carnivals, and other performances, music and memory in Cardiff Bay intersected with transatlantic identities, protest, and the deindustrialized urban setting. Using interviews and a transoptic landscape analysis, this paper explores the musical, performative, and national landscapes of the 2017 and 2018 National Eisteddfodau to better understand these emerging postcolonial, post-industrial, performative, and pluralized memories in Wales.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80275545","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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