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.
internal ‘conversation of gestures’ between the ‘me’ and the ‘I’. The ‘me’ constitutes the dominant thought and expected actions of human actors in response to the habitual behaviours that are fostered through the generalised other and significant symbols ( Crossley, 1996 ). Following James (1890) , however, the ‘I’ is the manifestation of an individual’s subjective disposition, and there can be incongruence and conflict between the ‘I’’s emotions and the wider social norms (or generalised other) of the ‘me.’ More expansive understandings of this relation include the ‘I
the most overwhelming emotion was a
sense of relief.
Having recuperated from my fright, I left the conveyor belt
and arrived at a series of machine shops, with some rusting steel
relics nestling amid the rubble. As with many industrial ruins,
the floor was strewn with all kinds of matter: fragments of broken
ceramics, electrical wiring, shards of plaster, parts of tools, chain
links, bolts, and indefinable substances spewed out by production
processes. In this part of the factory were several elegiac reminders
of those who had once routinely inhabited this place
confront the looming presence of the huge grandstands
that towered over the houses. These variegated sensations cannot
be experienced while walking to the Etihad Stadium: the much
smoother materialities, well-maintained shrubbery and the segregated spatialities of the houses, roads and streets, not to mention
the dearth of pubs, shops and food outlets, diminish the supercharged apprehension solicited by the environs of Rusholme and
The last game at the old stadium – a narrow defeat to
Southampton – culminated in an outpouring of emotion at the
loss of this
The talk-show host Stephen Colbert satirically introduced the term ‘truthiness’ in 2005, referring to his observation of political rhetoric whereby the belief in what you feel to be true is privileged over what the facts support. ‘Post-truth’ became the Oxford Dictionary’s word of the year in 2016, defined as “relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief” ( Oxford Dictionaries, 2016 ). Both terms were discussed in connection with the rise
that is different from
very subjective. Mapping fre- using other sensory modalquently uses visual modali- ities to map things?
ties as a starting point; we
map according to physical features, geographic
landmarks, and buildings that we see. But increasingly artists and designers are mapping the auditory elements in our landscapes (LaBelle, 2015), as
well as the more ephemeral feelings such as emotions (Nold, 2009) and everyday poetic activities
My practice differs from others in that I explore
what happens when we map according to what our
Testimonies of survival and rescue at Europe’s border
Karina Horsti and Ilaria Tucci
project that the lack of public narratives of Eritrean refugees in Europe was due to the fact that Eritreans have kept details about their suffering and personal emotions in the private sphere. The media in Eritrea were controlled by the regime. The ‘culture of secrecy’ that the survivors refer to is echoed in scholarship addressing Eritrean responses to decades of violence and war. The anthropologist Victoria Bernal ( 2017 ) writes about the broader cultural ‘unspeakability’ concerning personal losses among the Eritreans, also among those in diaspora, and sees it as ‘a
Celtic Tiger years, most of these women did not holiday regularly. Those who
did tended to do so for particular reasons. Patricia, for example, travelled to
visit her grown-up children who live abroad. She is divorced from a non-Irish
partner and travelled regularly to visit family and friends. For her, holidays
were replete with mixed emotions, as she engaged with her tension-filled,
stretched-out familial network. Adele also travelled regularly but, again, travelling and holidaying were embedded both in obligation and ordinariness. She
Allmendinger , P. and Haughton , G. ( 2012 ) Post-political spatial planning in England: A crisis of consensus? Transactions of the Institute of British Geographers , 37 , 1 , 89–103 .
Arenas , I. ( 2015 ) The mobile politics of emotions and social movement in Oaxaca, Mexico. Antipode , 47 , 1121–40 .
Barnett , C. ( 2014 ) What do cities have to do with democracy? International Journal of Urban and Regional Research , 38 , 5 , 1625–43 .
Chatterton , P. and Pickerill , J. ( 2010 ) Everyday activism and transitions towards post-capitalist worlds
, Habermasian communicative action, the fundamental basis of the consensus approach in planning, can be criticised via this pragmatic insight that emphasises the importance of lived experience and embodied action, which subsequently highlights the limits of instrumental communication. This notion also explains why more weight should be placed on practical, material actions and emotions than on verbal consensus, as explained further below.
The consensus approach regards verbal discourse as a practical action in itself, because securing agreement can eventually lead to