Shapeless Listening to the More-Than-Human World: Coherence, Complexity, Mattering, Indifference

Behrisch, Tanya J.

doi:10.1177/15327086211038056

Cited by 2 publications

References 11 publications

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Poetics of Nothingness: Ordering Wilderness

Lund

2023

Arctic Encounters

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This chapter takes the reader on a journey into the wilderness of Melrakkaslétta and follows the researcher who takes on the role of an explorer to rethink the potentiality of a place as a tourist destination. Selected encounters with features and figures whilst journeying are examined. What these have in common, although different in nature, is that they bring the flow of movement to a momentary, sometimes poetical, standstill which requires rethinking the order of things in an explorative manner. The features selected are: Beach Arctic terns Moss and lichens Modern ruin The aim is to examine how one can be in touch with the surroundings by allowing for the narratives they entail to emerge when moving with them. A beach reveals how heterogeneous materialities are moved about by natural forces which reflects on the constant rejuvenation that a place undergoes. Arctic terns provide a sense for constant renewal through seasonal changes and extreme mobile abilities. Moss and lichens bring one into direct touch with multispecies habitation that grows and nurtures, whilst modern ruins of a derelict farm give an insight into more-than-human co-habitation of flows and fluxes. These features represent mobile forces that constantly shape a place; a destination.

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Poetics of Nothingness: Ordering Wilderness

Lund

2023

Arctic Encounters

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Co-Creating Nature: Tourist Photography as a Creative Performance

Lund

2023

Humanities

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This article examines tourism nature photography as a creative and sensual activity. Based on a collection of photographs gathered from tourists in the Strandir region in northwest Iceland, I demonstrate how photographing nature is a more-than-human practice in which nature has full agency. Much has been written about tourist photography since John Urry theorised about the tourist gaze in the early 1990s; this view has been criticised, especially in the light of the performance turn in tourism studies.It has, for example, been noted that tourist photography is not just about the gazing tourist, but also about social relations that the surrounding landscape partly directs and stages. It has also been argued that, as photographing tourists, we become ‘concerned with the artistic production of ourselves’. Photography is thus a practise that is relational and sensual and that cannot be reduced to the seeing eye. However, whilst emphasising the tourist as a creative being, the surrounding landscape has been left out as a stage and its active agency ignored. I address the complex, more-than-human relations that emerge in the photographs collected in Strandir. I argue that the act of photographing, as a performative practice, is improvisational and co-creative, and the material surroundings have a direct and active agency. As has been demonstrated, photography communicates ‘not through the realist paradigm but through lyrical expressiveness’ and, thus, it may be argued that tourist photography is a poetic practice of making, as it weaves together the sensing self and the vital surroundings in the moving moment that the photograph captures.

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Shapeless Listening to the More-Than-Human World: Coherence, Complexity, Mattering, Indifference

Cited by 2 publications

References 11 publications

Poetics of Nothingness: Ordering Wilderness

Poetics of Nothingness: Ordering Wilderness

Co-Creating Nature: Tourist Photography as a Creative Performance

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