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Place, society and culture in a post-boom era

Ireland is a turbulent place. This book engages readers with the contours of transformation of Irish society through a series of distinct episodes and sites where change can be confronted. The content of the book intersects with the boom and bust themes to explore the economic and social implications of the recession. The processes are as diverse as cross-border development, farming knowledges, food movements, and the evolution of traditional Irish music. The modernisation of Irish society during the Celtic Tiger and its subsequent demise was a 'spatial drama' involving transformation in the material landscape and the imaginative representation of the island. The first part of the book explores the revolving intersections of identity politics with place. It tracks the discovery of the ghost estate and the ways in which it has been implicated in debates about the Irish economic crash, complicating ideas of home and community. After a discussion on immigration, the book discusses the role of migrants in filling labour and skill shortages. The second part pays attention to questions of mobility and consumption in urban and rural contexts. The new Irish motorway network, free time, leisure and holidaying in the lives of lone parents during the Celtic Tiger, and the role of National Asset Management Agency (NAMA) are discussed. The third part explores diverse cultural practices and some longstanding representations of Ireland. An autobiographical tour of the pub session, National Geographic's representations of Irish landscape and the current Irish imagination are the key concepts of this part.

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Sarah Butler

A mix of direct quotes, imaginative inhabitations and factual content, this piece explores the everyday realities for people living in unsupported temporary accommodation in Manchester. This population of the hidden homeless suffer from poor conditions, insecure tenancies, and associated mental and physical health problems.

in Manchester
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Private greed, political negligence and housing policy after Grenfell

As the tragedy of the Grenfell Tower fire of 14 June 2017 has slowly revealed a shadowy background of outsourcing and deregulation, and a council turning a blind eye to health and safety concerns, many questions need answers. Stuart Hodkinson has those answers. Safe as Houses weaves together Stuart’s research over the last decade with residents’ groups in council regeneration projects across London to provide the first comprehensive account of how Grenfell happened and how it could easily have happened in multiple locations across the country. It draws on examples of unsafe housing either refurbished or built by private companies under the Private Finance Initiative (PFI) to show both the terrible human consequences of outsourcing and deregulation and how the PFI has enabled developers, banks and investors to profiteer from highly lucrative, taxpayer-funded contracts. The book also provides shocking testimonies of how councils and other public bodies have continuously sided with their private partners, doing everything in their power to ignore, deflect and even silence those who speak out. The book concludes that the only way to end the era of unsafe regeneration and housing provision is to end the disastrous regime of self-regulation. This means strengthening safety laws, creating new enforcement agencies independent of government and industry, and replacing PFI and similar models of outsourcing with a new model of public housing that treats the provision of shelter as ‘a social service’ democratically accountable to its residents.

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.

A conceptual framework for considering mapping projects as they change over time
Cate Turk

periodically updated, either through automated feeds, user-entered data or the addition of updated information by the map administrators. The combination of crowd-sourcing with mapping encourages members of the public to add their own data or change data. The updated content might be geographic features in a base map or the Maps as foams 199 Figure 9.1  Wind map, showing the way winds are flowing around the Earth (https:// Figure 9.2  Haiyan/Yolanda Swipe Map, enabling comparison of before and after satellite imagery (www

in Time for mapping
Jenny Pickerill

non-virtual is reasserted. Furthermore, the interviewees gave no sign of abandoning their use of existing techniques of protest. In most cases CMC was used as an additional tool of protest or during the mobilising and co-ordinating of events, which then took place offline. Interviewees wanted to ensure that there were links from their use of CMC to their old ways of protest. With regard to McSpotlight, Atton (2000: 2) writes: ‘The grounding of the site’s content in actual struggle is emphasised by the foregrounding of campaign information and leaflets and the

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

interferes with the geopolitical positioning caused by the location on the edge of the nation state. The first disruptive element of the art–borders link is indeed the recent proliferation of these images, which transforms it into a commonplace or an artistic locus. The uptick in the number of works, installations and exhibitions whose intention involves the border issue raises concerns that go beyond the formal content of these creations. On the one hand, it links artistic intention to the setting and the context; on the other hand, it requires us to consider as a whole

in Border images, border narratives
Jenny Pickerill

the phone user (Campbell 1981; Barnett 2000). Attempts have been made to create a national database of personal details of activists, compile profiles and share such data 144 Cyberprotest on the Europe-wide computerised database the Schengen Information System (Elliott and Campbell 1996; Lodge 1999). The surveillance of environmentalists has extended to their use of CMC. There is only sketchy research available that considers the ways in which CMC is monitored. This surveillance could take many forms: monitoring of the content of emails and websites; observing

in Cyberprotest
Art and the temporalities of geomedia
Gavin MacDonald

6 Traces, tiles and fleeting moments: art and the temporalities of geomedia Gavin MacDonald Introduction: geomediation in the inhabitable map In this chapter, I discuss ways in which artists have exploited and exposed the temporalities of ‘geomedia’. I am following writers working at the intersection of media studies and geography in using this term to refer to a contemporary complex of technologies, content and practices that involve mapping, remote survey visualisations and the binding of digital information to location via GPS (Thielmann, 2010; Lapenta, 2011

in Time for mapping