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Authors:Frederic Neyrat Abstract: cultural geographies, Ahead of Print.
Citation: cultural geographies PubDate: 2022-06-22T11:02:53Z DOI: 10.1177/14744740221107091
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Authors:Robert A Saunders Abstract: cultural geographies, Ahead of Print. Television – as a form of representation, a space of affect, and an instrument of identity production – is a growing force in shaping perceptions of and views on international immigration. While geographers have examined the ways in which films, documentaries, and social media engage with the so-called ‘migrant crisis’ in Europe, there has been little work on fictional TV series as a force in world-building and place-making against the spectre of ‘unchecked migration’. Building on recent research on televisual interventions into the issues of migration, (b)orders, and securitisation, this article interrogates HBO Europe’s Norwegian-language sf series Beforeigners. With a focus on fantastical constructions of spatiality against temporality, the primary focus of this article is on the ways in which near-future science fiction engages with ontological insecurities around integration, xenophobia, and territorial belonging. This is accomplished by engaging the ‘temporal turn’ in cultural geography, which is increasingly focused on linking time, space, and migrant lives/bodies. Recognising TV series’ contributions to cultural, social, and political transformations that are of geographical significance, this essay seeks to expand and complicate scholarship on the suasive power of migrant representation on the small screen. Citation: cultural geographies PubDate: 2022-06-15T06:34:17Z DOI: 10.1177/14744740221104486
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Authors:Alexandra Halligey Abstract: cultural geographies, Ahead of Print. Through a close reading of Zadie Smith’s portrayal of the character Keisha/Natalie’s voice and relationship to voice in the novel NW, this article considers how people’s speaking, sounding voices are both emplaced (coming from, made by place) and are key place-making acts. This paper argues for how analysing sound in literature might serve sonic geographic interest in the ‘whole’ voice, with all sound’s representational and more-than representational elements. Through its fictional and poetic expressivity the literary offers propositional perspectives on experiences of sound and its material and affectual role in our world making. From this departure point, the paper proceeds to consider the entangled issues of place and identity politics in NW, motivating that a reading or ‘listening’ in terms of voice might offer valuable insights into these concerns. Attending to three moments in NW centred around the character Keisha/Natalie, the paper argues for how human’s speaking voices might enact and contain the complex difficulties in the co-construction of place and personal identity. Citation: cultural geographies PubDate: 2022-06-14T11:42:20Z DOI: 10.1177/14744740221104485
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Authors:Rebekah Fox, Nickie Charles, Harriet Smith, Mara Miele Abstract: cultural geographies, Ahead of Print. Based upon a multi-species ethnography of companion dog training in the UK, this paper examines the training class as a site of inter-species communication through which dogs and their humans are mutually affected and transformed. We argue that dog training represents an important form of multi-species learning in which participants (human trainer, trainee and canine) shape one another, jointly if asymmetrically, through the performance of particular tasks and challenges. Successful training requires ‘attunement’ to the haptic and sensory experiences of another species and the creation of shared embodied languages through which relationships of trust and reciprocity are formed. Responding to calls for less human-centred methods we examine the possibilities of visual and ethnographic methods for capturing the ‘animal’s point of view’ and explore how deep ethnographic involvement of the researcher’s own body can draw attention to the everyday complexities of embodied inter-species communication. We consider the importance of our own embodied learning in decentring the human in the research process, engendering a corporeal understanding of the multi-sensory nature of inter-species interaction and transforming ourselves in the process. Through the use of ethnographic vignettes, photos and video stills we highlight the importance of body language, sound, touch, smell and training atmospheres in the creation of shared knowledges. In doing so we explore the possibilities of such methods for evoking the affective dimensions of human-canine interactions and attending to the complex and multiple actors and sensibilities which comprise multi-species training relationships. Citation: cultural geographies PubDate: 2022-06-14T11:28:02Z DOI: 10.1177/14744740221102907
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Authors:Maarja Kaaristo, Francesco Visentin Abstract: cultural geographies, Ahead of Print. This article extends our understanding of inland waterways by theorising the temporary absences of water in canals and rivers as possibilities for action, that is, affordances. The interplay of temporary absence and presence of water in the inland waterways provides a range of potentialities for various activities and practices. Affordance theory can help us to further theorise material absences and position them as important elements of performing, practicing and interpreting place. We show how temporary absence of water can create spatial, historical and communicative affordances, affording the movement of boats, revealing and recreating the past and raising environmental awareness. The paper is based on semi-ethnographic research on the rivers and canals in the United Kingdom and Italy, featuring document analysis, participant observation and semi-structured interviews with various waterway users. Citation: cultural geographies PubDate: 2022-06-07T07:28:45Z DOI: 10.1177/14744740221100838
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Authors:Candice P Boyd, Elizabeth Straughan Abstract: cultural geographies, Ahead of Print. 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. Citation: cultural geographies PubDate: 2022-05-25T09:35:08Z DOI: 10.1177/14744740221100837
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Authors:Clayton Rosati Abstract: cultural geographies, Ahead of Print. 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. Citation: cultural geographies PubDate: 2022-05-25T09:32:49Z DOI: 10.1177/14744740221096090
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Authors:Caleb Johnston, Aphra Holland Bonnett Abstract: cultural geographies, Ahead of Print. 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. Citation: cultural geographies PubDate: 2022-05-19T06:10:07Z DOI: 10.1177/14744740221096102
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Authors:David Tutchener, Dan Turnbull Abstract: cultural geographies, Ahead of Print. 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. Citation: cultural geographies PubDate: 2022-05-11T05:34:27Z DOI: 10.1177/14744740221096091
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Authors:Maria Lindmäe Abstract: cultural geographies, Ahead of Print. 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. Citation: cultural geographies PubDate: 2022-05-03T06:08:36Z DOI: 10.1177/14744740221086260
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Authors:James Ash, Rachel Gordon, Sarah Mills Abstract: cultural geographies, Ahead of Print. 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. Citation: cultural geographies PubDate: 2022-04-19T05:51:02Z DOI: 10.1177/14744740221086262
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Authors:Samuel Strong Abstract: cultural geographies, Ahead of Print. 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. Citation: cultural geographies PubDate: 2022-04-11T12:42:17Z DOI: 10.1177/14744740221086258
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Authors:Janet Banfield Abstract: cultural geographies, Ahead of Print. 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. Citation: cultural geographies PubDate: 2022-03-27T06:51:38Z DOI: 10.1177/14744740221086266
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Authors:Julian Holloway Abstract: cultural geographies, Ahead of Print. 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. Citation: cultural geographies PubDate: 2022-03-27T06:50:20Z DOI: 10.1177/14744740221086264
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Authors:Márton Berki Abstract: cultural geographies, Ahead of Print. 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. Citation: cultural geographies PubDate: 2022-03-05T10:23:56Z DOI: 10.1177/14744740211068100
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Authors:Geraint Rhys Whittaker Abstract: cultural geographies, Ahead of Print. Audio archives are a unique tool that have helped geographers further their spatial analyses of the world. Through listening to voices from the past, the historical geographies of places are revealed and can, then, be used to better understand the numerous narratives that shape a location. But what happens if we take these recordings and reinterpret them, using an artistic lens' Can we create fresh and alternative ways of displaying and doing cultural geography' In this short essay, I demonstrate how I used selected audio archives which discussed the formative years of the life of Welsh poet, Dylan Thomas, to create a video map which combines past and present representations of the city of Swansea, Wales, to reimagine the archives for a 21st-century audience. By doing so, I reflect on how when combined with artistic methods, audio archives can be a vital tool for mapping new and innovative understandings of place. Citation: cultural geographies PubDate: 2022-02-09T05:22:21Z DOI: 10.1177/14744740221076526
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Authors:Friederike Landau-Donnelly Abstract: cultural geographies, Ahead of Print. The paper explores the politics of (dis)assembling borders within Europe. It examines the performance of the Berlin-based artist collective Zentrum für Politische Schönheit (Center for Political Beauty, ZPS) in 2014, in which artist activists temporarily removed white border crosses commemorating death at the former Berlin Wall. With this unauthorized displacement, ZPS sought to problematize ongoing violence and death at European borders. Via a three-part analysis of the performance Erster Europäischer Mauerfall (First European Fall of the Wall), the paper outlines a political framework for understanding art around and against borders – contributing to accounts on border art and the politics of borders. Staged as critique against the official commemoration of the 25th anniversary of the Fall of the Wall, perceived by ZPS as festivalized and thus apolitical event, the multiple performance acts highlight material and emotional movements. They oscillate between past and present border death, commemorated and forgotten border objects, bodies, places. In particular, ZPS aimed to denounce (implicit) hierarchies regarding how and whose death at European borders is remembered via acts of (dis)assembling. By unsolicitedly (re)moving Berlin’s border crosses (Act I), mobilizing over 100 activists to dismantle border fences and temporarily installing replica crosses at Southern EU borders and placing them in the hands of contemporary refugees (Act III), ZPS mobilized public concern about contemporary border politics and commemoration. The paper contributes to border studies that view borders as inherently complex and contingent symbolic, socio-spatial arrangements, which affect and are affected by objects, bodies, and policies that oscillate between contested absence and presence. Accompanied by controversial media coverage, the performance gathered (im)mobile bodies, moving objects, and multiple emotional responses about the what, where and who of Europe. Ultimately, politics of (dis)assembling unfold absence and presence to articulate mo(ve)ments of ‘the political’ as contestation against complacency and border violence. Citation: cultural geographies PubDate: 2022-02-01T08:46:45Z DOI: 10.1177/14744740221076523
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Authors:Kevin McHugh First page: 375 Abstract: cultural geographies, Ahead of Print. The Anthropocene problematic calls for imaginative aesthetic experiments fostering more-than-human thought and sensibilities. In this thought experiment, I draw on a sensing device in conjuring a thermal imaginary that decenters the human, espying a glimpse of a strange and uncanny world-without-us. The imaginary is a speculative performance in elemental attunement – becoming-molecular, becoming-imperceptible in the generative potentia of planetary heat – opening a pathway in rethinking bodies and worlds as emergent in, and through, forces elemental and cosmic in scope. The thermal imaginary accentuates the elemental as exorbitant, anonymous, and nonpossessable, an earthly plenum beyond any final capture, possession, mastery and control. Elemental alterity, the very strangeness of the earth, rises in the thermal imaginary as a summons, a calling from the “outside,” gesturing toward an immanent ethics of radical openness working in, and through, earthly bodies always already exposed and vulnerable in the force of the elemental. We must be open to the elemental summons, expanding capacities for what a body can do, moving beyond spinning reductive and redemptive Anthropocene narratives for saving this world. There can be no new bodies and worlds to come in the absence of an elemental ethics worthy of the earth itself. Citation: cultural geographies PubDate: 2022-02-11T11:24:38Z DOI: 10.1177/14744740221076525
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Authors:Maxwell Woods First page: 419 Abstract: cultural geographies, Ahead of Print. In response to State violence during the so-called ‘Chilean social explosion’ [estallido social], the Valparaíso Coordinator of Cultural Action [Coordinadora acción cultural Valparaíso] (CAC) in collaboration with other cultural groups of Valparaíso as well as other artists who spontaneously improvised during the performance organized on 31 October 2019 an ‘artistic candlelight vigil for human rights’ that passed through the center of the Chilean coastal town of Valparaíso, one ostensible effect of which was to rewrite the affective geography of Valparaíso in response to the violence that had erupted in the city during the 2 weeks prior. This article examines the relationship between this candlelight vigil, the revolutionary autonomist foundations of the Chilean social explosion, and the affective geography of Valparaíso, in addition to developing a broader theorization of the relationship between narrative, revolution, the politics of autonomy, and affective geography through this analysis. In the end, this article makes a double intervention: (1) The ‘artistic candlelight vigil’ in Valparaíso on 31 October 2019 memorializing the victims of State violence was an effective catharsis of the discordant affects held by Chilean protestors during the social explosion. (2) This example of catharsis demonstrates a new resolution to the relationship between narrative, revolution, and affective geography by proposing that art can work through the discordant affects of a polity in order to arrive at an autonomous urban communality from below. Citation: cultural geographies PubDate: 2022-02-01T08:41:57Z DOI: 10.1177/14744740221076520
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