Experiencing the More-than-Human World

Fenske, Michaela; Norkunas, Martha

doi:10.13110/narrcult.4.2.0105

Cited by 20 publications

(4 citation statements)

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“…This understanding resonates with a broader project in geography to take narrative seriously as a technology of place-making, a consequential modality of interaction between humans and the material places they inhabit (Cronon, 1992;Meyers Skredsvig, 2002;Price, 2010). Narrative is also increasingly identified as an important component of more-than-human relationships (Dittmer, 2014;Fenske and Norkunas, 2017;Jukes & Reeves, 2020;Van Dooren, 2014). Haraway (2016), for example, understands storytelling as a world-making practice, a critical human tool for 'staying with the trouble' of a rapidly changing world.…”

Section: Introductionmentioning

confidence: 70%

Re-creating the homeplace: more-than-human constellations and the political consequences of storytelling in central Appalachian community-based theatre

Barron

2021

Social & Cultural Geography

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Section: Introductionmentioning

confidence: 70%

Re-creating the homeplace: more-than-human constellations and the political consequences of storytelling in central Appalachian community-based theatre

Barron

2021

Social & Cultural Geography

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“…This has potential to scaffold decentring and designing for more than human futures and enrichment. As Fenske and Norkunas [45] observe (p. 105): "Even without decentring the human by narrating the world from the perspective of non-humans, storytelling about human experiences with other-than-humans has the potential to change today's world".…”

Section: Story-tellingmentioning

confidence: 99%

Designing Slow Cities for More Than Human Enrichment: Dog Tales—Using Narrative Methods to Understand Co-Performative Place-Making

Turner

Morrison

2020

MTI

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Designing for slow cities and the need to design for future urban environments that include the more than human is a major priority for our times. This position paper problematizes the nature–culture divide in research about place and place-making, where place is understood to be about the sense of meaning we layer on locations in the physical world. It emphasizes the importance of narrative identity and place-making in the context of designing for urban environmental futures and creation of slow cities. We present an overview of a methodology to re-emplace place-making with animals in the context of slow cities and designing for the more than human. The work discussed here explores the use of narrative inquiry with some early narrative data (in the form of stories) about dog walks and those moments where our companion animals demonstrate agentic place-based meaning-making. The problem of understanding “what animals want” and how they make might ”make sense” of an experience is approached via a focus on a rich exemplar case in order to distinguish between emplotment (narrative meaning-making as self) and emplacement (narrative meaning-making as an aspect of place). This is used to create a framework for future evaluation with a view to revealing how “more than human stories”—just like our own familiar human stories—are also about agency and meaning in place. This recognition has import for ways in which we might approach decentring the human when we frame urban design activities.

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“…Examining the materiality of the art can expose the more-than-human agency it possesses to influence people's perceptions of the city. Fenske and Norkunas (2017) discussed how exploring the more-than-human agency of our surroundings, such as the art in the city, can encourage people to learn what it means to be just one actor in the world rather than the dominant being in a human-oriented hierarchy. Lily discussed a particular lesson she believes Te Aro Park can teach us about our place in the world, she highlighted how small things like having slippery tiles at Te Aro Park reminds us that we cannot control the world around us and that our attempts to do so are futile.…”

Section: Connect To the Buried Waimapihimentioning

confidence: 99%

“…Opening up these opportunities for learning can encourage people to consider and explore the processes occurring in the city, and the art can raise the curiosity of people to question why it is there and what it is trying to represent (Fenske and Norkunas, 2017). These examples demonstrate how art can be used to reconnect people to the landscape that the city has paved over and can pique people's curiosity around the presence of buried streams in Te Whanganui-a-Tara-Wellington.…”

Section: Connect To the Buried Waimapihimentioning

confidence: 99%

Stream or Discharge: Using the Hydrosocial Cycle to Explore the Meanings of the Waimapihi Stream in Te Whanganui-a-Tara-Wellington, Aotearoa-New Zealand

Mclean¹

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<p>Aotearoa-New Zealand’s urban streams are complex and diverse but have been degraded and neglected for years. For the most part, hegemonic management regimes are technocratic, separating streams into discrete parts, and thus have failed to improve or maintain the state of urban streams. The hydrosocial cycle is a way of exploring streams that takes account of whole systems, flows of water, more than humans, infrastructure and technology, and the social structures and institutions that make up water. The framework has been used to study the impacts of urbanisation on water around the world, including issues around stormwater, wastewater, water supply, and rivers, but it has rarely been used to study buried urban streams. This research uses a case study of the Waimapihi Stream in Te Whanganui-a-Tara-Wellington, Aotearoa-New Zealand to explore how the hydrosocial cycle could be used to understand urban streams. A hydrosocial approach, alongside a more-than-human methodology, demonstrated the varying meanings of the stream, including those of the different phases along its length. Connections to the buried section of the Waimapihi arose through the presence of fish, physical markers, and stories, but there was dissatisfaction with the extent of these. As a result, alternative methods of connection such as windows to the stream and areas of it to be daylighted were explored. A hydrosocial approach enabled an examination of meanings and values of the Waimapihi Stream; to encourage critical analysis of how streams are defined and how they are managed. This demonstrated that the hydrosocial cycle provides a valuable framework for understanding urban streams, as it encompasses the various components that make up urban streams and is flexible enough to explore the diversity between and within them. Key words: Hydrosocial cycle, more-than-human, stormwater, wastewater, urban streams, Te Whanganui-a-Tara-Wellington, Aotearoa-New Zealand.</p>

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Experiencing the More-than-Human World

Cited by 20 publications

References 0 publications

Re-creating the homeplace: more-than-human constellations and the political consequences of storytelling in central Appalachian community-based theatre

Re-creating the homeplace: more-than-human constellations and the political consequences of storytelling in central Appalachian community-based theatre

Designing Slow Cities for More Than Human Enrichment: Dog Tales—Using Narrative Methods to Understand Co-Performative Place-Making

Stream or Discharge: Using the Hydrosocial Cycle to Explore the Meanings of the Waimapihi Stream in Te Whanganui-a-Tara-Wellington, Aotearoa-New Zealand

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