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The political aesthetics of boundaries and crossings

This interdisciplinary volume explores the role of images and representation in different borderscapes. It provides fresh insight into the ways in which borders, borderscapes and migration are imagined and narrated by offering new ways to approach the political aesthetics of the border. The case studies in the volume contribute to the methodological renewal of border studies and present ways of discussing cultural representations of borders and related processes. The case studies address the role of borders in narrative and images in literary texts, political and popular imagery, surveillance data, video art and survivor testimonies in a highly comparative range of geographical contexts ranging from northern Europe, via Mediterranean and Mexican–US borderlands to Chinese borderlands. The disciplinary approaches include critical theory, literary studies, social anthropology, media studies and political geography. The volume argues that borderlands and border-crossings (such as those by migrants) are present in public discourse and more private, everyday experience. This volume addresses their mediation through various stories, photographs, films and other forms. It suggests that narratives and images are part of the borderscapes in which border-crossings and bordering processes take place, contributing to the negotiation of borders in the public sphere. As the case studies show, narratives and images enable identifying various top-down and bottom-up discourses to be heard and make visible different minority groups and constituencies.

Kelly Sullivan

point, this time arguing from the perspective of the reader or viewer, in an essay about his map-making process: ‘we could not use or even bear to look at a map that was not mostly blank’.2 In describing the means by which he created maps of the Aran Islands, Connemara and the Burren, Robinson also describes the aesthetics of writing about place; his maps and his books both function as ‘conceptual model[s]‌of the terrain projected onto paper … representation[s] of spatial relationships in a symbolism that facilitates calculations’.3 In the same essay he explains that

in Unfolding Irish landscapes
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The topos of/for a post-politics of images?
Anne-Laure Amilhat Szary

how these places are a locus, that is, the anchor point of a multidimensional message. The second part of the text will highlight the links between the different aesthetic productions at the borders, a performative ‘inter-visualisation’ that would constitute a type of ‘global art’ (Belting, 2009 ) of the border. Finally, this overview will allow me to lay the foundations for a renewed reflection on the relationship between aesthetics and politics as mediated by the space. In a post-political approach to images, i.e., one that reveals the conceit of the quest of

in Border images, border narratives
Border figures of the fantastic
Patricia García

opening scene in the showers of the school gym. Fantastic border-crossings are highly ritualised. Evoking the explicit invitation a vampire needs to cross the threshold, the Swedish vampire film Let the Right One In / Låt den rätte komma in (dir. Tomas Alfredson, 2008 ) embeds this border ritual in its title. From the same writer, Border / Gräns (dir. Ali Abbasi, 2018 ) further illustrates the fruitful combination between the aesthetics of the fantastic and the themes of the border. Set on the Swedish border, the film voices concerns about the

in Border images, border narratives
Art and the temporalities of geomedia
Gavin MacDonald

concerns the relationship, practical and analogical, between the photograph and 150 Stitching memories the map, and in particular the challenge that the excessive, visibly fractured temporality of photographic mapping poses to the lingering notion of the map as having a snapshot (a)temporality, in Wood’s terms, or of being ‘a slice through time’, in Massey’s words (2005: 107). The stress on atemporality effects in studies of the aesthetics and cultural impact of geomedia, and the conflation of the cartographic and technological/cultural versions of timelessness in

in Time for mapping
Wolfgang Müller-Funk

of classical modernism and suggests the idea or, rather, the promise of overcoming all sorts of limitations and restrictions. Friedrich Schlegel's famous 116th Athenaeum fragment points to this narrative behind modernism and avant-garde movements: the Utopia of delimitation and the unification of the heterogeneous ( 1972 : 37). In this specific cultural and philosophical context, freedom and delimitation become synonyms. This may be seen as the core of the eroticism of modern aesthetics. The postmodern virtual space

in Border images, border narratives
Borders and images in migration narratives published in Norwegian
Johan Schimanski

. Stroh (eds), Postcolonial Translocations: Cultural Representation and Critical Spatial Thinking. Leiden : Brill , pp. 29–44 . Rancière , J. ( 2004 ) The Politics of Aesthetics: The Distribution of the Sensible . Trans. G. Rockhill. London : Continuum . Rasmussen , S.A. ( 2013 ) Skyggeferden . Oslo : Humanist

in Border images, border narratives

This book explores contemporary urban experiences connected to practices of sharing and collaboration. Part of a growing discussion on the cultural meaning and the politics of urban commons, it uses examples from Europe and Latin America to support the view that a world of mutual support and urban solidarity is emerging today in, against, and beyond existing societies of inequality. In such a world, people experience the potentialities of emancipation activated by concrete forms of space commoning. By focusing on concrete collective experiences of urban space appropriation and participatory design experiments this book traces differing, but potentially compatible, trajectories through which common space (or space-as-commons) becomes an important factor in social change. In the everydayness of self-organized neighborhoods, in the struggles for justice in occupied public spaces, in the emergence of “territories in resistance,” and in dissident artistic practices of collaborative creation, collective inventiveness produces fragments of an emancipated society.

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Something rich and strange

Manchester: Something rich and strange challenges us to see the quintessential post-industrial city in new ways. Bringing together twenty-three diverse writers and a wide range of photographs of Greater Manchester, it argues that how we see the city can have a powerful effect on its future – an urgent question given how quickly the urban core is being transformed. The book uses sixty different words to speak about the diversity of what we think of as Manchester – whether the chimneys of its old mills, the cobbles mostly hidden under the tarmac, the passages between terraces, or the everyday act of washing clothes in a laundrette. Unashamedly down to earth in its focus, this book makes the case for a renewed imaginative relationship that recognises and champions the fact that we’re all active in the making and unmaking of urban spaces.

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Border images and narratives: paradoxes, spheres, aesthetics
Johan Schimanski and Jopi Nyman

other questions suggesting the many different ways in which the contributors to the book might understand these queries. In this epilogue we attempt to link our different chapters by summing up how they deal with the central concepts in each question. However, as we exit the book we aim to do so in the opposite order: paradoxes , spheres , aesthetics. The chapters use specific cases in order to provide a number of provisional answers to the three main queries we started with, but here we reflect further on the theoretical issues that span the

in Border images, border narratives