Climate Geopoetics the earth is a composted poem. This article begins with a climate poem and ends with a climate poem. In between, I explore what it means to do climate geopoetics. The first section addresses recent literary work that engages with climate change and the Anthropocene and The first section addresses recent literary work that engages with climate change and the Anthropocene and outlines the geopoetic field as it is currently emerging as a subfield of the geohumanities.
Next, I turn to examining climate narratives and frames; following the lead of many human geographers and environmental humanities scholars, I approach climate change as a social and cultural issue. I then discuss the methodology of this particular climate geopoetics project, commenting on and contextualizing some of my writing and thinking process for the climate poems that are woven throughout the article.
It is my hope that this project may offer a fresh and unconventional approach to examining the multiple ways that climate change is framed, engaged, and contested. It is a darkly ethereal psychgeographical thriller, and a deceptive, delicious page-turning It is a darkly ethereal psychgeographical thriller, and a deceptive, delicious page-turning treat. I most highly recommend it to old-school U.
Lomonosov Moscow State University, 75 p. Testimony has featured as a defining framework for post-Apartheid South Africa in traditional courts of law and under the guise of Truth and Reconciliation. The article traces the convergence between performance and testimony. I turn to the testimonial-come-documentary dance Slavery to examine the critical and creative possibilities of dance performance to testify to the absent presence of this national crisis, rhetorically probe dancers, and audiences alike to find opportunities for its contestation, whilst questioning how and even if the arts are best placed to respond to judicial failings.
The article introduces three distinct dance spatialities—esthetic, ethical and political space—through which offstage enactments of gender-based violence are upstaged and contested. Voicing waters: co- creative reflections on sound, water, conversations and hydrocitizenship. We offer a free-flowing, reflective, creative ecology of narratives on 'voicing waters'. These interests, attuned to sensory experiences of water, intersected in a project called Towards Hydrocitizenship and in tidal landscapes of the Severn Estuary UK.
We also draw upon a participatory research project with non-humans, including workshops with trees and water conducted with a small group of artists and scholars-'in conversation with water'. Walter Benja-Memes. This paper aims to unlock the potential for the politicization of art in the age of the meme. This paper attempts to engage in this practice through creative invention. Our wager is that the blast of now-time that the meme unleashes can be used to lay bare the myth of mastery and open a space for new subjects, forms, and practices.
At the same time, we show how the meme is prone to boomerang effects and reterritorializations that can reverse back into fascist aestheticism, the catastrophic status quo, and the dominance of the market. Jess Linz. Serica, Seres, Catagium, China. Research on the variety of images of China in European premodern and modern discourses has been well established in the humanities. However in case of Polish vision of world geography one might claim that only the period of 17th century However in case of Polish vision of world geography one might claim that only the period of 17th century Jesuit missions has been so far thoroughly examined.
The aim of the article is therefore to shed light on the discursive representation of China in Old Polish literature that preceded the aforementioned period and to pose the question as to what extent Poland shared the same idealizing perspective on the former Cathay as Western Europe had developed in 13th century.
Lunch with Family. Research Statement In Lunch with Family, I use film to question my archival research and personal engagement in the discovery of the Slav silenced history of Trieste, a city-symbol on the former Iron Curtain, Italy. The film tells the The film tells the story of Vladimir Turina, a relative I had no knowledge of, who was arrested, put on trial and imprisoned by the Fascist regime.
The film maps the forced Italianisation of half a million Slavs, their organisation in anti-Fascist groups, the burning of their books and cultural institutions, and the final attempt to delete this ethnic group, which in Trieste in was larger than in Ljubljana — the Capital of Slovenia. The research is interdisciplinary, based on a preliminary study of archival material on a niche of Italian history that has been silenced, which establishes the use of research through film as an adequate epistemological methodology to answer the research questions.
The initial point of departure was a reflection on the use of creative practice in our The initial point of departure was a reflection on the use of creative practice in our respective academic fields, and our shared interest in the relationship between time, materiality, and the human subject.
This quickly developed into a shared discursive and artistic practice. Building blocks for a common language emerged through sketch dialogues and shared itineraries, which made connections between abandoned military defence architectures on the southeast coast of the UK and second-century rock-cut tombs in Southwest China. Speculative connections between past, present, and future were drawn out and deposited in models cast in plaster and life-size replicas carved in chalk or stone.
Another artistic contribution to geography is Radical Cartography, the ongoing work of historian and cartographer Bill Rankin. Bill rethinks the way maps are used as apolitical references for natural and political landmarks, and considers this approach—not the content on his maps—the radical element of his work. The geography actually comes first, although I just call it an interest in place, landscape, that kind of thing.
That was present as soon as I was old enough to explore the backyard. Rebecca Solnit is an artist, writer, and radical cartographer herself. Geography has informed her essays and her ongoing series of urban atlases, so far focused on San Francisco, New Orleans, and New York.
Rebecca hopes her team of artists, cartographers, and writers can help redefine the atlas as more than a navigational tool and an exploration of an interrelated sense of place. Anand Varma is a science photographer who works to tell the story behind the science of everything, from primate behavior and hummingbird biomechanics, to amphibian disease and forest ecology. Joel has photographed 8, species in zoos and aquariums around the world.
Krista Schlyer is a wildlife photographer with a passion for using her work to spread the message of wildlife conservation. She focuses her work on biodiversity and public lands. David Doubilet is a photojournalist specializing in ocean environments.
David enters the sea as a journalist, artist, and explorer to document both the beauty and the devastation in our oceans. All of these artists are putting a new twist on old ideas, as well as bringing the two worlds of art and geography together. Use their work as inspiration to help students see the world around them in different ways!
Geography has and will continue to be the holistic approach, both human and physical geography, to integrate all subjects. Don't already have an Oxford Academic account? Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide. Sign In or Create an Account. Sign In. Advanced Search. Search Menu. Article Navigation.
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