New material? Work in cultural and social geography, 1995

Matless, David

doi:10.1177/030913259602000306

Cited by 16 publications

(5 citation statements)

References 97 publications

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“…producing landscapes'. 18 He cites subject-matter from war memorials 19 to country walking, 20 but the remark suggests the aspect of his practice for which Goldsworthy is perhaps best known: making temporary sculptures from twigs, stones, and leaves. In the 1990s, this quiet intervention in the production of landscape, while a significant departure from art depicting landscape, expressed a generalized feeling for the land in a period when others, outside art, were engaged in more politicized articulations of such feelings in response to specific sites -as in anti-roads protest.…”

Section: Goldsworthy Country?mentioning

confidence: 99%

Representing nature: art and climate change

Miles

2010

cultural geographies

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Climate change is now an established scientific fact, and dealing with it may require significant shifts in consumption and economic organization. A key question is how these changes can be achieved, by regulation or shifts of consciousness on the parts of individuals. Among the means by which a shift of awareness might occur is cultural work — including the production and reception of art and literature. But does art which represents climate change distance or normalize the problem, or can new kinds of art construct new ways in which to see or intervene in the conditions and systems which produce global warming? The article considers recent exhibitions of art dealing with environmental and climate change issues in the UK and USA. Before that, the article summarizes aspects of recent relevant work on art by geographers. Looking at cases of environmentalist art, the article initially differentiates art representing climate change in dramatic images from an emerging tendency to practical intervention. It argues that art may contribute to a shift in attitudes, but wonders whether intervention-as-art is in its way another form of representation, and whether art inevitably distances whatever problems it addresses. This is an insoluble difficulty: the real is always mediated and distanced in culture, yet art may still draw attention to conditions and to the inherent contradictions they contain.

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Section: Goldsworthy Country?mentioning

confidence: 99%

Representing nature: art and climate change

Miles

2010

cultural geographies

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“…The existing literature tends to regard roadside memorials as a cultural phenomenon, a practice which is replete with signification, symbolism, interpretation, ritual, tradition, custom and the generation of shared meanings (Henzel ; Matless ; Ferrell ). It is not that this is ‘wrong’ so much as it is partial and obscures how the cultural relations of roadside memorialization incite a sometimes highly charged politics about, for example, the boundaries of public/private life, risk‐management and the minimization of harm, the regulation of grief, the social ownership of public space and the authority of expertise.…”

Section: Words Deeds and Voicesmentioning

confidence: 99%

Public sphere as assemblage: the cultural politics of roadside memorialization

Campbell

2013

British Journal of Sociology

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This paper investigates contemporary academic accounts of the public sphere. In particular, it takes stock of post-Habermasian public sphere scholarship, and acknowledges a lively and variegated debate concerning the multiple ways in which individuals engage in contemporary political affairs. A critical eye is cast over a range of key insights which have come to establish the parameters of what 'counts' as a/the public sphere, who can be involved, and where and how communicative networks are established. This opens up the conceptual space for re-imagining a/the public sphere as an assemblage. Making use of recent developments in Deleuzian-inspired assemblage theory - most especially drawn from DeLanda's (2006) 'new philosophy of society' - the paper sets out an alternative perspective on the notion of the public sphere, and regards it as a space of connectivity brought into being through a contingent and heterogeneous assemblage of discursive, visual and performative practices. This is mapped out with reference to the cultural politics of roadside memorialization. However, a/the public sphere as an assemblage is not simply a 'social construction' brought into being through a logic of connectivity, but is an emergent and ephemeral space which reflexively nurtures and assembles the cultural politics (and political cultures) of which it is an integral part. The discussion concludes, then, with a consideration of the contribution of assemblage theory to public sphere studies. (Also see Campbell 2009a).

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“…But the inherently transdisciplinary instincts of many cultural scholars (Anderson, 1995; Matless, 1996) are also related to broader historical imperatives in a world where the triumphs of the medium over the message and of surface over substance are becoming increasingly apparent. This has made it increasingly necessary for geographers to incorporate a consideration of the images and representations of places, and of other phenomena, with more (so‐called) objective measures as vital explanatory variables in their studies.…”

Section: Historical Imperativementioning

confidence: 99%

Convergence in Cultural Inquiry: Bureaucratic Inevitability, Historical Imperative or Serendipity?

Jones

2006

Geographical Research

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New material? Work in cultural and social geography, 1995

Cited by 16 publications

References 97 publications

Representing nature: art and climate change

Representing nature: art and climate change

Public sphere as assemblage: the cultural politics of roadside memorialization

Convergence in Cultural Inquiry: Bureaucratic Inevitability, Historical Imperative or Serendipity?

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