Geography as an Art

Meinig, D. W.

doi:10.2307/622047

Cited by 75 publications

(31 citation statements)

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“…Ne présentaient d'intérêt géographique que les décors de l'intrigue, sans égard particulier à la forme. Tant et si bien que les premiers à s'y intéresser lors des années 1970et 1980, dont Bédard (1987, Herendeen (1986), Lafaille (1989), Meinig (1983), Pocock (1981aPocock ( , 1981b, Porteous (1985), Salter et Lloyd (1977), Silk (1984) et Tuan (1978), proposaient une réfl exion le plus fréquemment thématique et impressionniste, largement inspirée de postulats phénoménologiques afférents à l'espace vécu révélé par les littéraires. Une seconde génération de géographes, dont Barnes et Duncan (1992), Brosseau (1994Brosseau ( , 1996, Bureau (1999), Buttimer et al, (1998), Duncan (1992), Duncan et Ley (1993), Lévy (1989Lévy ( , 1997, Sharp (2000) et White (1996), davantage attachés aux tenants et aboutissants cognitifs, sémiques et symboliques de nos perceptions et représentations de l'espace comme du territoire, se sont eux intéressés aux divers genres littéraires en tant que mode d'expression de préoccupations sociospatiales spécifi ques.…”

Section: Deux Disciplines Un Même Objet Circonstancié ?unclassified

Géographie et littérature : entre le topos et la chôra

Bédard

Lahaie

2008

Cahiers de géographie du Québec

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Section: Deux Disciplines Un Même Objet Circonstancié ?unclassified

Géographie et littérature : entre le topos et la chôra

Bédard

Lahaie

2008

Cahiers de géographie du Québec

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“…Many geographers advocate this sort of inclusive approach (Tuan 1974(Tuan , 1979(Tuan , 1995(Tuan , 1999Scott and Simpson-Housley 1991;Light and Smith 1988;Duncan and Duncan 1988; Barnes and Duncan 1992;Meinig 1983;Barnes 1996;Cosgrove 1984Cosgrove , 1988Cosgrove , 1999. Referring to cultural geographers working currently, Mathewson notes, "receptivity to ideas originating from other disciplines is perhaps greater than that of their predecessors" (1994,167).…”

Section: Inclusiveness As a Strategymentioning

confidence: 99%

Visualizing Complexity : A Spatial Analysis of Decorative Geometric Pattern in the Islamic World, 900-1400 AD

Harrison¹

2000

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In the Islamic World, 900-1400 AD This study explores how the use of complex decorative geometric patterns in Islamic architecture spatially relates to advances in the fields of science and philosophy in the Islamic world between the ninth and fourteenth centuries. This project examines hypotheses developed by vario~s scholars on the forces that shaped the use of these patterns (known as the geometric mode) in Islamic architecture. The prevailing assumption that advances in mathematics contributed to the use of the geometric mode is used as a starting point for subsequent analysis.For this study, two spatial databases were created. One contains over two hundred and twenty monuments of Islamic architecture exhibiting the geometric mode, while the other contains over one hundred records of activity in the sciences and philosophy. From these databases, decorative geometric pattern types were classified and ranked, and scholarly activities were classified. Density maps were developed from these classes and ranks for each century, and were compared in a series of analytical overlay maps. Each map depicts the spatial relationships of the activities in question over a span of three centuries, enabling a spatio-temporal analysis of the connections between disciplines within the context of the broader cultural elements at work.These maps allow for examination of these disciplines in a new way; there has never been a spatial analysis testing the existing hypotheses until now. The density overlay maps show that some of the prevailing hypotheses are partially supported by the data, but the primary hypothesized relationship-that activity in mathematics prompted use of the geometric mode-is not applicable to all regions of the Islamic world during this time period. The spatial analysis exposes the previously overlooked possibility that the geometric mode could have influenced activity in the sciences and philosophy.This study provides tools to better understand the complex relationships among art, science, and philosophy: two spatial databases, a geographic information systems (GIS) model, and resulting analytical overlay maps. The maps produced in this project reveal examples where the quality of contact among disciplines in these very specific times and places is worth examining in greater detail.

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“…Increasingly, we are arguing for a refocusing on the craft of writing as a means of expressing affective and deeply felt orientations to places, landscapes, and the spaces of our lives (Wylie 2009;Lorimer and Parr 2014). And in producing poetry (see Cresswell 2013Cresswell , 2015de Leeuw 2013de Leeuw , 2015Magrane and Cokinos 2016) or visual and sound art (Driver et al 2002;Foster and Lorimer 2007;Hawkins 2013;Kanngieser 2015), or curating and co-producing with artists (Driver 2012), geographers are also responding to a long lineage of geographers (e.g., Meinig 1983;Watson 1983;Cosgrove 1978) who have called for geographers to become artists, to produce creative expressions, to acknowledge that "life [itself] will reside in poetry" (Hawkins and Straughan 2015, 96). This is a concept dating back decades in geography, when Watson (1983, 391--392) Still, while there is admittedly a growing amount of poetic work at play in geography, almost none of the creative geographic writing circulating within geohumanities or the creative re-turn tackles the ways that writing might work to not tell, to un-tell, or to break the traditions of telling so as to narrate and undertake geo-graphing in radically and new critical ways, including ways that open new spaces through which to consider colonial violence in a moment-in Canada, in particular-of truth and reconciliation (remember here not forget truth, reaching for some kind of truth, it is about truth and reconciliation, truth-writing truth, truths, and perhaps there can never be a truth, singular).…”

Section: Introductionmentioning

confidence: 99%

Writing as righting: Truth and reconciliation, poetics, and new geo‐graphing in colonial Canada

Leeuw

2017

Canadian Geographies / Géographies canadiennes

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The Truth and Reconciliation Commission calls for new actions to address Canada's colonial history and colonial present; geographers are implicated in this call.Undertaking logical, linear, or even coherent work about colonial violence risks reproducing it by trying to make sense of and bring closure to something that should, for settler Canadians, remain raw and unsettled.Poetry offers a way of writing about colonial violence by opening new "language-spaces," new geo-graphing possibilities, that refuse existing narratives about colonialism.This paper is anchored in two recent and concurrent openings, openings that offer opportunities for geographers to consider new modes of engaging colonial violence. The first opening is the release, in Canada, of the Truth and Reconciliation Commission's final report and calls to action. By demanding new types of settler-subject attention to Indigenous peoples and places, it opens new spaces for extending reflection about anti-Indigenous racism and colonial violence in Canadian consciousness. The second opening is geography's growing uptake of creative and humanities-informed theories and practices. These manifest in new knowledges and practices with consequent possibilities for addressing colonial violence. I consider these two openings first by proposing changes to conversations about settler-normalized violences lived by Indigenous peoples, and, second by engaging poets working to radically re/configure language and written expression. Specifically, the paper ends with a call for geographers-particularly non-Indigenous settler geographersto rethink ways (and forms) by which we produce knowledge, especially about colonialism and Indigenous geographies and especially in and through writing practices. The paper is experimental in form, meant to disrupt easy uptake or digestion of ideas that must remain-for settler subjects-fundamentally ragged, upsetting, and always beyond conclusion, coherence, or closure.

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Geography as an Art

Cited by 75 publications

References 0 publications

Géographie et littérature : entre le topos et la chôra

Géographie et littérature : entre le topos et la chôra

Visualizing Complexity : A Spatial Analysis of Decorative Geometric Pattern in the Islamic World, 900-1400 AD

Writing as righting: Truth and reconciliation, poetics, and new geo‐graphing in colonial Canada

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