Pub Date : 2023-04-14DOI: 10.1080/2373566x.2023.2188095
T. Edensor
{"title":"What Color Is This Place?","authors":"T. Edensor","doi":"10.1080/2373566x.2023.2188095","DOIUrl":"https://doi.org/10.1080/2373566x.2023.2188095","url":null,"abstract":"","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"79 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76665452","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 : 2023-04-14DOI: 10.1080/2373566x.2023.2187313
M. Kelly, Nick Lally, Philip J. Nicholson
{"title":"On Art and Experimentation as Geographical Practice","authors":"M. Kelly, Nick Lally, Philip J. Nicholson","doi":"10.1080/2373566x.2023.2187313","DOIUrl":"https://doi.org/10.1080/2373566x.2023.2187313","url":null,"abstract":"","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"1 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81288459","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 : 2023-04-14DOI: 10.1080/2373566x.2023.2188064
P. Atkinson, Michelle Duffy, J. Ailwood
In the first wave of the Covid-19 pandemic, the principal mitigation strategies were physical distancing and the dramatic restriction of socializing with others. The absence of live performances meant arts institutions had to reconsider their relationship with audiences and thoroughly rethink what they do. While many institutions uploaded videos of past performances, some dance companies created new performances specifically for online media that have provided an opportunity for dancers to remain active and visible during the COVID lockdowns. We borrow the term iso-dance to collectively refer to these performances, a term that succinctly invokes both the medium (dance) and the conditions under which the performance is conducted (isolation). We examine how performances of ballet dancers from professional companies were informed by the home environment. We propose the examination of iso-ballet helps us understand relationships between video, bodily movement and the particular affordances of the home, as well as invite us to question the ways we inhabit and constitute places through creative, bodily practices. (English) [ FROM AUTHOR] Durante la primera oleada de la pandemia del COVID-19, las principales estrategias de mitigación fueron el distanciamiento físico y la dramática restricción de socializar con los demás. La ausencia de actuaciones escénicas en directo significó que las instituciones de arte tuvieran que reconsiderar lo que hacían. Si bien muchas de las instituciones subieron videos de actuaciones anteriores, algunas compañías de baile montaron nuevas actuaciones destinadas específicamente a los medios en línea, que han proporcionado a los bailarines la oportunidad de continuar activos y visibles durante los encierros por el COVID. Tomamos en préstamo la expresión iso-danza para referirnos colectivamente a estas representaciones, una expresión que de modo sucinto invoca tanto al medio (la danza) como las condiciones bajo las cuales se conduce la actuación (aislamiento). Examinamos cómo el entorno hogareño pudo influir en las actuaciones de los bailarines de ballet de las compañías profesionales. Proponemos que el examen del iso-ballet nos ayude a entender las relaciones entre vídeo, el movimiento corporal y las posibilidades particulares del hogar, igual que nos invite a cuestionar las formas como habitamos y construimos lugares por medio de prácticas creativas y corpóreas. (Spanish) [ FROM AUTHOR] COVID-19初期的主要应对措施, 是保持距离和尽量限制社交。现场演出的禁止, 意味着艺术团体必须重新考虑与观众的关系、彻底重新思考其工作。许多艺术团体上传了之前的演出视频, 一些舞蹈公司还在网络媒体创作了新的演出, 为舞者在COVID-19封锁期间保持活跃度和关注度提供了机会。我们将这些演出统称为"隔离舞蹈”, 以简洁地涵盖媒介（舞蹈）和演出条件（隔离）。我们研究了住宅环境如何影响专业公司芭蕾舞演员的演出。我们认为, 对"隔离芭蕾舞”的研究, 有助于理解视频、身体活动和住宅条件之间的关系, 并通过创造性身体行为去质疑我们占据和构建场所的方式。 (Chinese) [ FROM AUTHOR] Copyright of GeoHumanities is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email
在新冠肺炎大流行的第一波浪潮中，主要的缓解策略是保持身体距离和严格限制与他人交往。没有现场表演意味着艺术机构必须重新考虑与观众的关系，并彻底反思他们所做的事情。虽然许多机构上传了过去表演的视频，但一些舞蹈公司专门为网络媒体制作了新的表演，为舞者提供了在COVID封锁期间保持活跃和可见的机会。我们借用“同舞”(iso-dance)一词来统称这些表演，这个词简洁地援引了表演的媒介(舞蹈)和进行表演的条件(孤立)。我们研究了来自专业公司的芭蕾舞演员的表演如何受到家庭环境的影响。我们认为，对iso-ballet的研究有助于我们理解视频、身体运动和家庭特殊环境之间的关系，并邀请我们通过创造性的身体练习来质疑我们居住和构成场所的方式。(中文)[来自作者]Durante la premieria oleada de de COVID-19, las principales principles de mitigación fueron el distance iiento físico y la dramática restricción de socializar conlos demás。化学物质交换和化学物质交换和化学物质交换和化学物质交换和化学物质交换和化学物质交换和化学物质交换和化学物质交换hacían。在新冠肺炎疫情爆发期间，我们将通过以下方式为您提供持续活动的机会:首先，我们将通过以下方式为您提供持续活动的机会:我们将通过以下方式为您提供持续活动的机会:我们将通过以下方式为您提供持续活动的机会:1 .在下列情况下:(1)在下列情况下:(1)在下列情况下:(1)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)在下列情况下(2)。Examinamos cómo el entorno hogareño pudo influir en las actuaciones de los bailarines de ballet de las compañías professionales。“支持芭蕾的人将会学习芭蕾的学习方式，而不是学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如学习芭蕾的学习方式，例如prácticas creative creative corpóreas。(西班牙语)(从作者)COVID-19初期的主要应对措施,是保持距离和尽量限制社交。现场演出的禁止, 意味着艺术团体必须重新考虑与观众的关系、彻底重新思考其工作。许多艺术团体上传了之前的演出视频,一些舞蹈公司还在网络媒体创作了新的演出,为舞者在COVID-19封锁期间保持活跃度和关注度提供了机会。我们将这些演出统称为"隔离舞蹈”, 以简洁地涵盖媒介（舞蹈）和演出条件（隔离）。我们研究了住宅环境如何影响专业公司芭蕾舞演员的演出。我们认为, 对"隔离芭蕾舞”的研究, 有助于理解视频、身体活动和住宅条件之间的关系, 并通过创造性身体行为去质疑我们占据和构建场所的方式。 GeoHumanities的版权归Routledge所有，未经版权所有人的书面许可，其内容不得复制或通过电子邮件发送到多个网站或发布到列表服务器。但是，用户可以打印、下载或通过电子邮件发送文章供个人使用。这可以删节。对副本的准确性不作任何保证。用户应参阅原始出版版本的材料的完整。(版权适用于所有人。)
{"title":"Ballet in a Box: Iso-Ballet, Lockdown, and the Reconstruction of the Domestic Space","authors":"P. Atkinson, Michelle Duffy, J. Ailwood","doi":"10.1080/2373566x.2023.2188064","DOIUrl":"https://doi.org/10.1080/2373566x.2023.2188064","url":null,"abstract":"In the first wave of the Covid-19 pandemic, the principal mitigation strategies were physical distancing and the dramatic restriction of socializing with others. The absence of live performances meant arts institutions had to reconsider their relationship with audiences and thoroughly rethink what they do. While many institutions uploaded videos of past performances, some dance companies created new performances specifically for online media that have provided an opportunity for dancers to remain active and visible during the COVID lockdowns. We borrow the term iso-dance to collectively refer to these performances, a term that succinctly invokes both the medium (dance) and the conditions under which the performance is conducted (isolation). We examine how performances of ballet dancers from professional companies were informed by the home environment. We propose the examination of iso-ballet helps us understand relationships between video, bodily movement and the particular affordances of the home, as well as invite us to question the ways we inhabit and constitute places through creative, bodily practices. (English) [ FROM AUTHOR] Durante la primera oleada de la pandemia del COVID-19, las principales estrategias de mitigación fueron el distanciamiento físico y la dramática restricción de socializar con los demás. La ausencia de actuaciones escénicas en directo significó que las instituciones de arte tuvieran que reconsiderar lo que hacían. Si bien muchas de las instituciones subieron videos de actuaciones anteriores, algunas compañías de baile montaron nuevas actuaciones destinadas específicamente a los medios en línea, que han proporcionado a los bailarines la oportunidad de continuar activos y visibles durante los encierros por el COVID. Tomamos en préstamo la expresión iso-danza para referirnos colectivamente a estas representaciones, una expresión que de modo sucinto invoca tanto al medio (la danza) como las condiciones bajo las cuales se conduce la actuación (aislamiento). Examinamos cómo el entorno hogareño pudo influir en las actuaciones de los bailarines de ballet de las compañías profesionales. Proponemos que el examen del iso-ballet nos ayude a entender las relaciones entre vídeo, el movimiento corporal y las posibilidades particulares del hogar, igual que nos invite a cuestionar las formas como habitamos y construimos lugares por medio de prácticas creativas y corpóreas. (Spanish) [ FROM AUTHOR] COVID-19初期的主要应对措施, 是保持距离和尽量限制社交。现场演出的禁止, 意味着艺术团体必须重新考虑与观众的关系、彻底重新思考其工作。许多艺术团体上传了之前的演出视频, 一些舞蹈公司还在网络媒体创作了新的演出, 为舞者在COVID-19封锁期间保持活跃度和关注度提供了机会。我们将这些演出统称为\"隔离舞蹈”, 以简洁地涵盖媒介（舞蹈）和演出条件（隔离）。我们研究了住宅环境如何影响专业公司芭蕾舞演员的演出。我们认为, 对\"隔离芭蕾舞”的研究, 有助于理解视频、身体活动和住宅条件之间的关系, 并通过创造性身体行为去质疑我们占据和构建场所的方式。 (Chinese) [ FROM AUTHOR] Copyright of GeoHumanities is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email ","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"20 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77772577","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 : 2023-04-12DOI: 10.1080/2373566x.2023.2170813
R. Berry, J. Rice, A. Trauger, Haley R DeLoach, Amelia H. Wheeler, A. Hilton
{"title":"Wake Work: Unearthing the Legacy of Slavery at the United States’ First Publicly Chartered University","authors":"R. Berry, J. Rice, A. Trauger, Haley R DeLoach, Amelia H. Wheeler, A. Hilton","doi":"10.1080/2373566x.2023.2170813","DOIUrl":"https://doi.org/10.1080/2373566x.2023.2170813","url":null,"abstract":"","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"68 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87645205","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 : 2023-04-12DOI: 10.1080/2373566x.2023.2182699
{"title":"Legal Pluralism on Dyarubbin: Country-as-Lore/Law in Western Sydney, Australia","authors":"","doi":"10.1080/2373566x.2023.2182699","DOIUrl":"https://doi.org/10.1080/2373566x.2023.2182699","url":null,"abstract":"","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"17 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85281683","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 : 2023-04-12DOI: 10.1080/2373566x.2022.2158899
Joseph P. Brewer II, Jay T. Johnson
{"title":"Reciprocity: An Ethos “More Than Human”","authors":"Joseph P. Brewer II, Jay T. Johnson","doi":"10.1080/2373566x.2022.2158899","DOIUrl":"https://doi.org/10.1080/2373566x.2022.2158899","url":null,"abstract":"","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"27 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80474695","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 : 2023-01-02DOI: 10.1080/2373566X.2023.2180418
Sarah B. Gelbard
Decades of experience with closed, relocated, and renamed venues, make punks very familiar with cycles of gentrification. Often established in edge neighborhoods, punk venues participate in reproducing the “grit” of urban decline and subculture. Urban revitalization plans that promise community, livability, and culture, rarely leave spaces for established punk community and subculture. The newly branded Retail, Arts, and Theatre District in Ottawa, Canada is a case study in cultural urban development that operationalizes creative placemaking and its future-oriented visions of urban revitalization through cultural spaces and activities. Although the city’s Official Plan celebrates that existing cultural venues add diversity to the district, the pressure placed on punk venues by surrounding development reveal that not all venues are to be recognized by the city as legitimate or desirable forms of either diversity or culture. Close readings of official city planning documents, urban histories, development proposals, and marketing literature are juxtaposed with auto-ethnographic, storytelling, punk histories, and song writing. I argue that punk counter-cultural placemaking practices provide counter-information, counter-environments, and counter-temporalities to space in the city to resist gentrification and refuse displacement as endings. Gentrification kills punk. But punk always comes back, finds new places, haunts old sites, and remembers its past.
{"title":"“Did You Hear? Mavericks Is Closing!” Punk Refusal of Gentrified Endings","authors":"Sarah B. Gelbard","doi":"10.1080/2373566X.2023.2180418","DOIUrl":"https://doi.org/10.1080/2373566X.2023.2180418","url":null,"abstract":"Decades of experience with closed, relocated, and renamed venues, make punks very familiar with cycles of gentrification. Often established in edge neighborhoods, punk venues participate in reproducing the “grit” of urban decline and subculture. Urban revitalization plans that promise community, livability, and culture, rarely leave spaces for established punk community and subculture. The newly branded Retail, Arts, and Theatre District in Ottawa, Canada is a case study in cultural urban development that operationalizes creative placemaking and its future-oriented visions of urban revitalization through cultural spaces and activities. Although the city’s Official Plan celebrates that existing cultural venues add diversity to the district, the pressure placed on punk venues by surrounding development reveal that not all venues are to be recognized by the city as legitimate or desirable forms of either diversity or culture. Close readings of official city planning documents, urban histories, development proposals, and marketing literature are juxtaposed with auto-ethnographic, storytelling, punk histories, and song writing. I argue that punk counter-cultural placemaking practices provide counter-information, counter-environments, and counter-temporalities to space in the city to resist gentrification and refuse displacement as endings. Gentrification kills punk. But punk always comes back, finds new places, haunts old sites, and remembers its past.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"6 1","pages":"211 - 229"},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85288781","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 : 2023-01-02DOI: 10.1080/2373566X.2022.2160367
Misha Hadar, Jared D. Margulies
In the fall semester of 2021, we organized and curated the participatory art project Hostile Terrain ‘94 at the University of Alabama. The project, conceived and developed by the Undocumented Migration Project, consists of ∼3,200 toe-tags carrying information of deceased migrants found on the US side of the US-Mexico border in the Sonoran Desert. They produce a map of tremendous death. The project allowed participating institutions to make their own decisions regarding how to coordinate the creation of the material and staging and curation of the final exhibition. Apart from its importance as a way of engaging a public with the often-unseen consequences of US border policy and policing, it is also an experiment in collaborative art making. What kind of experience did we want to structure for those taking part in creating the materials? How were we going to stage the encounter with the finished materials? We discuss organizing the creation of materials, setting up the installation, and the period when the project was open to the public to highlight two elements that were of special importance in the process: the subject position engaged by the project, and the meditative practice proposed by the installation.
{"title":"Hostile Terrain 94, Installation, and Meditative Explorations of the US-Mexico Borderlands","authors":"Misha Hadar, Jared D. Margulies","doi":"10.1080/2373566X.2022.2160367","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2160367","url":null,"abstract":"In the fall semester of 2021, we organized and curated the participatory art project Hostile Terrain ‘94 at the University of Alabama. The project, conceived and developed by the Undocumented Migration Project, consists of ∼3,200 toe-tags carrying information of deceased migrants found on the US side of the US-Mexico border in the Sonoran Desert. They produce a map of tremendous death. The project allowed participating institutions to make their own decisions regarding how to coordinate the creation of the material and staging and curation of the final exhibition. Apart from its importance as a way of engaging a public with the often-unseen consequences of US border policy and policing, it is also an experiment in collaborative art making. What kind of experience did we want to structure for those taking part in creating the materials? How were we going to stage the encounter with the finished materials? We discuss organizing the creation of materials, setting up the installation, and the period when the project was open to the public to highlight two elements that were of special importance in the process: the subject position engaged by the project, and the meditative practice proposed by the installation.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"32 1","pages":"140 - 157"},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77921881","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 : 2023-01-02DOI: 10.1080/2373566X.2022.2150260
Aelwyn Williams
This paper explores the possibilities of using alternative forms of analysis when thinking about “dementia friendly communities,” a recent if not by now historic phenomenon. Using ethnographic methods, I ask the question: what remains beyond, in excess of, and is never quite captured in discourses around such communities, if they exist? Dementia is an elusive concept, often appearing as personal disruption, and often threatening the ways that contemporary lives are ordered. I ask whether there is value in questioning the fragmentary remains of researching dementia friendly communities from a different angle, by approaching the disparate assemblage of materials, fieldnotes, photos, recordings of ordinary practices, of state practices, through more creative means? Taking inspiration from the avant-garde techniques of William S. Burroughs, in particular cut-ups and collage, the aim here has been to pay attention differently and move beyond what is already known.
本文探讨了在考虑“痴呆症友好社区”时使用其他分析形式的可能性，这是一个最近的现象，如果不是现在的历史现象。使用民族志的方法，我提出了这样一个问题:如果这些社区存在，那么在这些社区之外，还有什么，以及从未被完全捕获过?痴呆症是一个难以捉摸的概念，经常表现为对个人的破坏，并经常威胁到当代生活的秩序。我想问的是，从不同的角度，通过更有创造性的手段，接近不同的材料组合，实地记录，照片，普通实践的记录，对痴呆症友好社区的零碎遗迹进行质疑，是否有价值?从威廉·s·巴勒斯(William S. Burroughs)的前卫艺术中获得灵感，尤其是剪纸和拼贴，其目的是以不同的方式关注，超越已知的东西。
{"title":"What Remains? Salvaging Meaning from “Dementia Friendly Communities” Using Cut-Ups and Collage","authors":"Aelwyn Williams","doi":"10.1080/2373566X.2022.2150260","DOIUrl":"https://doi.org/10.1080/2373566X.2022.2150260","url":null,"abstract":"This paper explores the possibilities of using alternative forms of analysis when thinking about “dementia friendly communities,” a recent if not by now historic phenomenon. Using ethnographic methods, I ask the question: what remains beyond, in excess of, and is never quite captured in discourses around such communities, if they exist? Dementia is an elusive concept, often appearing as personal disruption, and often threatening the ways that contemporary lives are ordered. I ask whether there is value in questioning the fragmentary remains of researching dementia friendly communities from a different angle, by approaching the disparate assemblage of materials, fieldnotes, photos, recordings of ordinary practices, of state practices, through more creative means? Taking inspiration from the avant-garde techniques of William S. Burroughs, in particular cut-ups and collage, the aim here has been to pay attention differently and move beyond what is already known.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"15 1","pages":"170 - 190"},"PeriodicalIF":0.7,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83446876","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 : 2023-01-02DOI: 10.1080/2373566X.2022.2154690
U. Strohmayer
This essay analyses a key motif in geographical scholarship: the most basic form of mobility achieved by an abled-bodied person engaging in acts of walking. By embedding “walking” firmly within a phenomenological tradition, the essay places “being mobile” qua walking within a field of enquiry that conceptualises an embodied form of mobility as both enabling and limiting. Building furthermore from a growing body of literature that has differentiated between “walking” as an active form of engagement and a host of different geographically relevant modes of being, the paper adds a specifically epistemological set of considerations in an attempt critically to contribute to existing literatures and to interrogate the embodied practice of walking. Key in this endeavour is the contribution mobile modes of existence make to the construction of knowledge about the social world. The paper concludes with a prolegomena that recasts walking in the form of a geographically informed pedagogical practice.
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