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Cultural Geography (cultural + geography)

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Selected Abstracts

Which Direction for Cultural Geography?

GEOGRAPHICAL RESEARCH, Issue 4 2006
A Postgraduate Perspective
No abstract is available for this article. [source]

Teaching and Learning Guide for: Memoryscape: How Audio Walks Can Deepen Our Sense of Place by Integrating Art, Oral History and Cultural Geography

GEOGRAPHY COMPASS (ELECTRONIC), Issue 5 2008
Toby Butler
Author's Introduction This article is concerned with the history and practice of creating sound walks or ,memoryscapes': outdoor trails that use recorded sound and spoken memory played on a personal stereo or mobile media to experience places in new ways. It is now possible to cheaply and easily create this and other kinds of located media experience. The development of multi-sensory-located media (,locedia') presents some exciting opportunities for those concerned with place, local history, cultural geography and oral history. This article uses work from several different disciplines (music, sound art, oral history and cultural geography) as a starting point to exploring some early and recent examples of locedia practice. It also suggests how it might give us a more sophisticated, real, embodied and nuanced experience of places that the written word just can not deliver. Yet, there are considerable challenges in producing and experiencing such work. Academics used to writing must learn to work in sound and view or image; they must navigate difficult issues of privacy, consider the power relations of the outsider's ,gaze' and make decisions about the representation of places in work that local people may try and have strong feelings about. Creating such work is an active, multi-sensory and profoundly challenging experience that can offer students the chance to master multi-media skills as well as apply theoretical understandings of the histories and geographies of place. Author Recommends 1.,Perks, R., and Thomson, A. (2006). The oral history reader, 2nd ed. London: Routledge. This is a wonderful collection of significant writing concerned with oral history. Part IV, Making Histories features much of interest, including a thought-provoking paper on the challenges of authoring in sound rather than print by Charles Hardy III, and a moving interview with Graeme Miller, the artist who created the Linked walk mentioned in the memoryscape article. These only feature in the second edition. 2.,Cresswell, T. (2004). Place: a short introduction. Oxford, UK: Blackwell. A refreshingly clear and well-written guide to the different theoretical takes on what makes places , a good starting point for further reading. 3.,Carlyle, A. (ed.). (2008). Autumn leaves: sound and the environment in artistic practice. Paris, France: Double Entendre. This is a collection of short essays and examples of located sonic media art; it includes interviews with practitioners and includes Hildegard Westekamp's Soundwalking, a practical guide to leading students on a mute walk. Lots of thought provoking, applied reading material for students here. 4.,Blunt, A., et al. (eds) (2003). Cultural geography in practice. London: Arnold. A great book for undergraduate and postgraduate students , concepts explained and lots of examples of actually doing cultural geography. The chapter on mapping worlds by David Pinder is particularly useful in this context. 5.,Pinder, D. (2001). Ghostly footsteps: voices, memories and walks in the city. Ecumene 8 (1), pp. 1,19. This article is a thoughtful analysis of a Janet Cardiff sound walk in Whitechapel, East London. Online Materials http://www.memoryscape.org.uk This is my project website, which features two online trails, Dockers which explores Greenwich and the memories of the London Docks that are archived in the Museum of London, and Drifting which is a rather strange experiment-combining physical geography and oral history along the Thames at Hampton Court, but still makes for an interesting trail. Audio, maps and trails can be downloaded for free, so students with phones or iPods can try the trails if you are within reach of Surrey or London. The site features an online version, with sound-accompanying photographs of the location. http://www.portsofcall.org.uk This website has three more trails here, this time of the communities surrounding the Royal Docks in East London. The scenery here is very dramatic and anyone interested in the regeneration of East London and its impact on local communities will find these trails interesting. Like Dockers, the walks feature a lot of rare archive interviews. This project involved a great deal of community interaction and participation as I experimented with trying to get people involved with the trail-making process. The site uses Google maps for online delivery. http://www.soundwalk.com This New York-based firm creates exceptionally high-quality soundwalks, and they are well worth the money. They started by producing trails for different districts of New York (I recommend the Bronx Graffiti trail) and have recently made trails for other cities, like Paris and Varanassi in India. http://www.mscapers.com This website is run by Hewlett Packard, which has a long history of research and development in located media applications. They currently give free licence to use their mscape software which is a relatively easy to learn way of creating global positioning system-triggered content. The big problem is that you have to have a pricey phone or personal digital assistant to run the software, which makes group work prohibitively expensive. But equipment prices are coming down and with the new generations of mobile phones developers believe that the time when the player technology is ubiquitous might be near. And if you ask nicely HP will lend out sets of equipment for teaching or events , fantastic if you are working within reach of Bristol. See also http://www.createascape.org.uk/ which has advice and examples of how mscape software has been used for teaching children. Sample Syllabus public geography: making memoryscapes This course unit could be adapted to different disciplines, or offered as a multidisciplinary unit to students from different disciplines. It gives students a grounding in several multi-media techniques and may require support/tuition from technical staff. 1.,Introduction What is a located mediascape, now and in the future? Use examples from resources above. 2.,Cultural geographies of site-specific art and sound Theories of place; experiments in mapping and site-specific performance. 3.,Walk activity: Westergard Hildekamp , sound walk, or one of the trails mentioned above The best way , and perhaps the only way , to really appreciate located media is to try one in the location they have been designed to be experienced. I would strongly advise any teaching in this field to include outdoor, on-site experiences. Even if you are out of reach of a mediascape experience, taking students on a sound walk can happen anywhere. See Autumn Leaves reference above. 4.,Researching local history An introduction to discovering historical information about places could be held at a local archive and a talk given by the archivist. 5.,Creating located multimedia using Google maps/Google earth A practical exercise-based session going through the basics of navigating Google maps, creating points and routes, and how to link pictures and sound files. 6.,Recording sound and oral history interviews A practical introduction to the techniques of qualitative interviewing and sound recording. There are lots of useful online guides to oral history recording, for example, an online oral history primer http://www.nebraskahistory.org/lib-arch/research/audiovis/oral_history/index.htm; a more in depth guide to various aspects of oral history http://www.baylor.edu/oral%5fhistory/index.php?id=23566 or this simple oral history toolkit, with useful links to project in the North of England http://www.oralhistorynortheast.info/toolkit/chapter1.htm 7.,Sound editing skills Practical editing techniques including working with clips, editing sound and creating multi-track recordings. The freeware software Audacity is simple to use and there are a lot of online tutorials that cover the basics, for example, http://www.wikieducator.org/user:brentsimpson/collections/audacity_workshop 8.,Web page design and Google maps How to create a basic web page (placing pictures, text, hyperlinks, buttons) using design software (e.g. Dreamweaver). How to embed a Google map and add information points and routes. There is a great deal of online tutorials for web design, specific to the software you wish to use and Google maps can be used and embedded on websites free for non-profit use. http://maps.google.com/ 9,and 10. Individual or group project work (staff available for technical support) 11.,Presentations/reflection on practice Focus Questions 1What can sound tell us about the geographies of places? 2When you walk through a landscape, what traces of the past can be sensed? Now think about which elements of the past have been obliterated? Whose past has been silenced? Why? How could it be put back? 3Think of a personal or family story that is significant to you. In your imagination, locate the memory at a specific place. Tell a fellow student that story, and describe that place. Does it matter where it happened? How has thinking about that place made you feel? 4What happens when you present a memory of the past or a located vision of the future in a present landscape? How is this different to, say, writing about it in a book? 5Consider the area of this campus, or the streets immediately surrounding this building. Imagine this place in one of the following periods (each group picks one): ,,10,000 years ago ,,500 years ago ,,100 years ago ,,40 years ago ,,last Thursday ,,50 years time What sounds, voices, stories or images could help convey your interpretation of this place at that time? What would the visitor hear or see today at different points on a trail? Sketch out an outline map of a located media trail, and annotate with what you hear/see/sense at different places. Project Idea small group project: creating a located mediascape Each small group must create a located media experience, reflecting an aspect of the history/geography/culture of an area of their choosing, using the knowledge that they have acquired over the course of the semester. The experience may be as creative and imaginative as you wish, and may explore the past, present or future , or elements of each. Each group must: ,,identify an area of interest ,,research an aspect of the area of the groups choosing; this may involve visiting local archives, libraries, discussing the idea with local people, physically exploring the area ,,take photographs, video or decide on imagery (if necessary) ,,record sound, conduct interviews or script and record narration ,,design a route or matrix of media points The final project must be presented on a website, may embed Google maps, and a presentation created to allow the class to experience the mediascape (either in the classroom or on location, if convenient). The website should include a brief theoretical and methodological explanation of the basis of their interpretation. If the group cannot be supported with tuition and support in basic website design or using Google mapping with sound and imagery, a paper map with locations and a CD containing sound files/images might be submitted instead. For examples of web projects created by masters degree students of cultural geography at Royal Holloway (not all sound based) see http://www.gg.rhul.ac.uk/MA/web-projects.html [source]

Writing the Map of Anglo-Saxon England: Essays in Cultural Geography , By Nicholas Howe

HISTORY, Issue 316 2009
DAMIAN TYLER
No abstract is available for this article. [source]

Teaching and Learning Guide for: Memoryscape: How Audio Walks Can Deepen Our Sense of Place by Integrating Art, Oral History and Cultural Geography

Geographies of Architecture: The Multiple Lives of Buildings

GEOGRAPHY COMPASS (ELECTRONIC), Issue 5 2010
Peter Kraftl
Arguably, cultural geography began with the study of architectural forms. The first half of this article traces the geographical study of buildings as a relatively small but significant sub-field of cultural geography. It summarises three approaches that characterise this work. First, the study of everyday, vernacular buildings, found especially (but not exclusively) in North American cultural geography. Second, radical critiques of the political,economic imperatives that are built into particular architectural forms such as the skyscraper and the related interpretation of buildings as signs, symbols or referents for dominant socio-cultural discourses or moralities. Third, what can broadly (but not unproblematically) be termed non-representational or ,critical' methods that stress practice, materiality and affect. The second half of the article highlights the productive connections between these three approaches. It stresses that recent research on the geographies of architecture has adopted elements of each approach to make a number of contributions to the study of cultural geography. Two key themes are considered: movement/stasis; the politics of architectural design and practice. Consideration of these themes anticipates a conclusion with some broad suggestions for future geographical research on architecture. [source]

Automobility and the Geographies of the Car

GEOGRAPHY COMPASS (ELECTRONIC), Issue 2 2009
Peter Merriman
The motor car or automobile has had a profound impact on global mobility, settlement patterns, the global economy, and the environment. Transport policy-makers and environmentalists highlight the unsustainable nature of contemporary petrol-car usage, yet despite widespread calls to rethink contemporary automobility and move towards more sustainable forms of public and private travel, it is only in recent years that social scientists have started to examine the social and cultural geography of the motor car, driving and the spaces of the street, road and motorway in any depth. In this article, I outline some of the research which has been undertaken on the geographies and sociologies of the spaces and practices of driving, focusing in particular on the UK. First, the article outlines the major impact the motor car has had on the geographies of road space. It examines how motor roads have shaped our experience of space and place, and outlines studies of their design, inhabitation, and regulation. Second, this article discusses embodied inhabitations of the spaces of the car: how motor cars have been consumed; how they have shaped our embodied apprehensions of our surroundings; and how they facilitate social and cultural relations. Finally, this article concludes by examining the innovative methods which are increasingly being utilised and developed by social scientists to explore the socialities of automotive spaces. [source]

Teaching and Learning Guide for: Memoryscape: How Audio Walks Can Deepen Our Sense of Place by Integrating Art, Oral History and Cultural Geography

,People Is All That Is Left to Privatize': Water Supply Privatization, Globalization and Social Justice in Belize City, Belize

INTERNATIONAL JOURNAL OF URBAN AND REGIONAL RESEARCH, Issue 3 2009
DAANISH MUSTAFA
Abstract This article presents the findings of an extensive survey on public and policy level perceptions of the failed water supply and sanitation system privatization in Belize City. Drawing upon the burgeoning critical geographical literature on the commodification and privatization of water, we formulate a conceptual framework for analyzing the ethnographic data on perceptions and experience of privatization by Belize City water users. The experience of water supply privatization was largely negative. Residents complained bitterly about an increase in water tariffs and excessive disconnection rates by the privatized Belize Water Supply Limited (BWSL). Many policy makers also accused BWSL of front-loading profits and not making strategic investments in infrastructure. But the symbolic significance of water privatization for the residents of a small Caribbean country like Belize exceeded its practical implications. We argue that the major themes to emerge from the ethnographic data collected for the study can be synthesized into three ,popular privatization narratives' (PPNs). The first was based on the perception that poor governance led to privatization; the second on a preference for national- over global-scale politics, so that objections to privatization were based on nationalism; the third on angst about losing control to the systemic compulsions of neoliberal globalization. Overall the privatization process not only had important (largely negative) material consequences for Belizeans but, given their historical and cultural geography, profound discursive and symbolic consequences for their sense of identity in a condition of neoliberal globalization. Résumé Cet article présente les résultats d'une vaste enquête sur les impressions, de la population et des acteurs des politiques publiques, concernant l'échec de la privatisation du réseau d'approvisionnement en eau et d'assainissement de Belize City. Utilisant les publications géographiques critiques qui se multiplient sur la marchandisation et la privatisation de l'eau, un cadre conceptuel est formulé pour analyser les données ethnographiques sur les impressions et l'expérience de la privatisation émanant des usagers de l'eau de Belize City. L'expérience de cette privatisation a été en grande partie négative. Les habitants se plaignent amèrement de l'augmentation des tarifs et de taux de coupures excessifs par la société privée Belize Water Supply Limited (BWSL). De nombreux décideurs politiques ont également accusé BWSL de prélever les bénéfices sans effectuer d'investissements stratégiques d'infrastructure. Toutefois, la place symbolique de la privatisation de l'eau pour les habitants d'un petit pays de la mer des Antilles comme Belize dépasse les incidences pratiques. Les principaux thèmes dessinés par les données ethnographiques collectées peuvent se résumer en trois ,récits populaires de la privatization'. Le premier repose sur l'impression que la faiblesse de la gouvernance a conduit à la privatisation; le deuxième sur une préférence pour une politique à l'échelon national plutôt que mondial, de sorte que les objections à la privatisation étaient liées au nationalisme; le troisième sur l'angoisse de perdre la maîtrise des pressions systémiques exercées par la mondialisation néolibérale. En général, le processus de privatisation a eu des conséquences matérielles importantes (en grande partie négatives) pour les Béliziens mais aussi, étant donnée la géographie historique et culturelle nationale, de profondes implications discursives et symboliques sur leur sens de l'identité dans un contexte de mondialisation néolibérale. [source]

Commodified language in Chinatown: A contextualized approach to linguistic landscape1

JOURNAL OF SOCIOLINGUISTICS, Issue 3 2009
Jennifer Leeman
In Washington DC's newly gentrified Chinatown, recent commercial establishments, primarily non-Chinese owned chains, use Chinese-language signs as design features targeted towards people who neither read nor have ethnic ties to Chinese. Using this neighborhood as a case study, we advocate a contextualized, historicized and spatialized perspective on linguistic landscape which highlights that landscapes are not simply physical spaces but are instead ideologically charged constructions. Drawing from cultural geography and urban studies, we analyze how written language interacts with other features of the built environment to construct commodified urban places. Taking a contextually informed, qualitative approach, we link micro-level analysis of individual Chinese-language signs to the specific local socio-geographic processes of spatial commodification. Such a qualitative approach to linguistic landscape, which emphasizes the importance of sociohistorical context, and which includes analysis of signage use, function, and history, leads to a greater understanding of the larger sociopolitical meanings of linguistic landscapes. [source]

Locating Impropriety: Street Drinking, Moral Order, and the Ideological Dilemma of Public Space

POLITICAL PSYCHOLOGY, Issue 2 2006
John Dixon
Drawing on research in urban sociology, cultural geography, and social psychology, this paper explores some of the moral rules that govern social relations in public places. In particular, we consider how certain practices become classified as everyday incivilities,infractions of the moral order that sustains public life. In order to develop this notion, we draw illustrations from an ongoing research project that is investigating social attitudes towards "street drinking," an activity that has led to the creation of "alcohol-free zones" in over 100 British cities during the past decade. As an emergent theme, this research has suggested that the classification of street drinking as either acceptable or unacceptable conduct is contingent upon the social construction of public space that users invoke. This theme is discussed in the context of wider struggles over citizenship and social control in the public domain,struggles manifest within "ideological dilemmas" (Billig et al., 1988) over the limits of free conduct, the tension between open and closed public spaces, and the attempt to distinguish "admissible" from "inadmissible" publics. [source]

Resisting the creation of forgotten places: artistic production in Toronto neighbourhoods

THE CANADIAN GEOGRAPHER/LE GEOGRAPHE CANADIEN, Issue 4 2006
ALISON L. BAIN
This article analyzes semi-structured interviews with contemporary visual artists from Toronto, Canada, to explore the relationship between artists, memory, and place. The focus of the article is on three neighbourhoods in downtown Toronto that have the potential to become forgotten places of artistic production: Yorkville, King Street West and The Junction. Through an analysis of artists' spatially grounded narratives about these three neighbourhoods, I reveal how the intense emotional and material connections that artists have to places have the potential to challenge the loss of collective urban memory. This article contributes to intersecting literatures on neighbourhood change, artistic production and the importance of vernacular memory in urban cultural geography. Cet article examine les résultats d'une enquête par entrevues semi-dirigées réalisées auprès d'artistes contemporains en arts visuels de Toronto, Canada. Il vise à explorer les relations entre les artistes, la mémoire et le lieu. Nous ciblons dans cet article trois quartiers centraux de Toronto, Yorkville, King Street West et The Junction, lesquels pourraient devenir des lieux oubliés de production artistique. Au moyen d'une analyse des récits sur l'espace qui se dégagent des entrevues avec les artistes à propos de ces quartiers, je montre comment les rapports émotionnels et physiques intenses qu'entretiennent les artistes vis-à-vis des lieux sont un moyen de faire face à la disparition de la mémoire collective urbaine. Cet article constitue une contribution à la littérature portant à la fois sur le changement local, la production artistique et l'importance de la mémoire vernaculaire dans la géographie urbaine et culturelle. [source]