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Joe Gerlach

story that hangs, counter-intuitively, on the disorientation of mapping, but which finds concomitant re-orientations through nodes, ways and relations. It is a story of cartographic bricolage – of making do (de Certeau, 1984); of mapping subjectivities and time-travelling. There is some degree of cartographic orientation on-hand for guidance; these orientations come in the form of GPS traces and geodesic coordinates. The GPS traces are spatio-temporal riffs, the lived, living and to-be-lived traces of walks, bus and train journeys taken in or near the accompanying

in Time for mapping
Open Access (free)
Heterogeneous temporalities, algorithmic frames and subjective time in geomedia
Pablo Abend

that new media introduce specific spatio-temporal frames for our perception of time draws on a line of thought pointing back at least to Walter Benjamin’s (1969) famous essay, ‘The work of art in the age of mechanical reproduction’. Benjamin points out that not only nature but also historical circumstances – including media development – organise and reorganise human perception. New modes of production can lead to new modes of cultural reproduction and introduce new modes of perception (Benjamin, 1969: 222). Benjamin sees the big shift in modernity in the possibility

in Time for mapping
Abstract only
Christopher Lloyd

character and story owes too much to artistic fashions (1950s absurdism, 1960s eroticism and abstract art) that are alien to Clouzot. His boldest films, on the other hand, with their logical narrative sequence and unambiguous spatiotemporal clarity, are those which seek to ‘break down the boundaries between high art and low art’ (Mayne 2000: 45) by working within the conventions of literary adaptation and recognised genres (the thriller, adventure story or film noir). While avant-garde mannerism may be granted an unmerited importance in critical discourse, artistry which is

in Henri-Georges Clouzot
Open Access (free)
Back to the future
Alex Gekker
Sam Hind
Sybille Lammes
Chris Perkins
, and
Clancy Wilmott

) suggests it is imperative to reconsider places, not as a bounded and defined, but as spaces with histories. This is particularly salient at a time ‘when things are speeding up’ due to time-space compression and when the global and the local become ever more intimately intertwined. It is a time when ‘history itself is imagined as the product of layer-upon-layer of different sets of linkages, both local and to the wider world’ (Massey, 1991: 29). But if we were to invert that assertion, as we have tried to do throughout this volume, to focus not on spatio-temporality, but

in Time for mapping
Layard’s Assyrian discoveries and the formations of British national identity
Frederick N. Bohrer

framework valuable precisely for its ability to convince the individual reader of the simultaneity of events both spatially and socially disparate. Thus arises a conception of national interest, overlapping and extending personal individual interests and identities. Coverage of the Assyrian discoveries in the ILN exemplifies the spatio-temporal span of the new consciousness it represented, as well as the

in Cultural identities and the aesthetics of Britishness
A multimodal reading of archived London-French blogs
Saskia Huc-Hepher

, photographed, etc.) are immortalised for posterity in the ‘material’ form and spatio-temporal context of their utterance. This digitally materialised trace of a particular language community’s, previously ephemeral, linguistic here-and-now is receiving increasing scholarly attention in the field of applied and sociolinguistics (for example, Blackledge, 2013 ; Androutsopoulos, 2014 ; Sargeant and Tagg, 2014 ; Schreiber, 2015 ; Zhu Hua et al ., 2015; Lyons and Tagg, 2019 ) and beyond, including social geography, cultural anthropology, media studies and modern languages

in French London
Boccioni – Delaunay, interpretational error or Bergsonian practice?
Delphine Bière

offered differed profoundly, as they depended on the relation between science and philosophy. Both fields concern themselves with the question of the relationship between spirit and reality and the tension between them. Among artists, new spatio-temporal conceptions were influenced by Bergson as much as by the principles of non-Euclidian geometry. The theories of Poincarré, the theory of relativity discovered by Einstein in 1905, Charles Henry’s theory of relativism, the works of Gaston de Pawlowski, all developed concepts of the relativity of time and space, but above

in Back to the Futurists
Open Access (free)
Working memory
David Calder

a derelict factory into a street theatre production centre modifies the spatial repertoires of the surrounding area even for those who never see the company perform. In this book, street theatre consists of both a set of institutions that form publics and a series of events that engage with spectators. The events in question might not involve plot or character, but I call them theatre because they facilitate modes of spatio-temporal perception that are fundamentally theatrical. Theatre excels at transforming one space into another. Purpose-built stages become

in Street theatre and the production of postindustrial space
Abstract only
Leonora Carrington’s cinematic adventures in Mexico
Felicity Gee

resulted in the cross-pollination of surrealist ideas and styles across the world. But I also refer to aspects of surrealist practice that are adapted by individual artists around surrealism’s ‘shifting point of magnetism’. 1 Moctezuma and Carrington each occupy a particular position in this mobile constellation. Poe’s work stages Gothic structures of repression that inspired the Paris surrealist group. Moctezuma, while not a surrealist, perpetuates the spirit of dépaysement in Mansion ’s radical staging of ‘madness’ and its condensation of multiple spatio-temporal

in Surrealism and film after 1945
Apocalypse on the road in Amnesia Moon
James Peacock

insists, ‘the unity of time and space markers is exhibited with exceptional precision and clarity’ (Bakhtin, 2004 : 98). Having ancestry in Greek ‘adventure time’ – ahistorical, unchanging, undifferentiated, dictated therefore by chance – the chronotope of the road articulates the spatio-temporal logic of the ‘encounter’. As Bakhtin explains: ‘the chronotope of the road is

in Jonathan Lethem