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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.

Art, process, archaeology

This book presents a study of material images and asks how an appreciation of the making and unfolding of images and art alters archaeological accounts of prehistoric and historic societies. With contributions focusing on case studies including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic Egypt, and including contemporary reflections on material images, it makes a novel contribution to ongoing debates relating to archaeological art and images. The book offers a New Materialist analysis of archaeological imagery, with an emphasis on considering the material character of images and their making and unfolding. The book reassesses the predominantly representational paradigm of archaeological image analysis and argues for the importance of considering the ontology of images. It considers images as processes or events and introduces the verb ‘imaging’ to underline the point that images are conditions of possibility that draw together differing aspects of the world. The book is divided into three sections: ‘Emergent images’, which focuses on practices of making; ‘Images as process’, which examines the making and role of images in prehistoric societies; and ‘Unfolding images’, which focuses on how images change as they are made and circulated. The book features contributions from archaeologists, Egyptologists, anthropologists and artists. The contributors to the book highlight the multiple role of images in prehistoric and historic societies, demonstrating that archaeologists need to recognise the dynamic and changeable character of images.

Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

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Sharon Lubkemann Allen

/10/2013 12:20:07 Introduction 5 shape fictions rooted in and refracting St. Petersburg and Rio de Janeiro, as a function of peculiarly parallel development on geo-political and mythical planes, on the material landscape and within cultural memory. Offering an alternative mapping to the many surveys of modernism grounded in concentric contexts (Paris and London, in particular) and to consequently concentric constructions of modernist consciousness, as well as an alternative to examinations of eccentric modernism only in terms of derivation and delay, this study traces

in EccentriCities
Open Access (free)
Elana Wilson Rowe

Conclusion     131 make the edge as important as the center’ (1988:  28). Hopefully, the research conducted here also provides some useful input to scholars working to understand the national and local dynamics of Arctic politics as well. Furthermore, the boundaries we have focused on have primarily been political boundaries, conceived of and realised in the landscape through the workings of state power over centuries. With the focus on these constructed boundaries (and the crossing of them), the material landscape of the Arctic (both its expanses and its depths

in Arctic governance
The case of community initiatives promoting cycling and walking in São Paulo and London
Tim Schwanen and Denver V. Nixon

chapter, then, gathers together a range of process-based, relational accounts of wellbeing as the emergent, space- and time-specific outcome of relations between not only people but also objects, material landscapes, values, discourses and atmospheres as active agents (Smith and Reid, 2018 ). One of the most helpful outcomes of this style of thinking about wellbeing and its generation is a heuristic classification of how spatial, or rather tempo-spatial, and dynamic constellations of heterogeneous elements – assemblages (Deleuze and Guattari, 1987 ) – in cities and

in Urban transformations and public health in the emergent city
Tamsin Badcoe

of Ireland’s wetlands. The importance of earthy imagery in The Faerie Queene takes on new resonance when read within the context of a material landscape notorious for its ‘watery soyle’ and treacherous coastline. 17 Jon A. Quitslund comments, for example, that Spenser often represents ‘earth and water together as the substratum of animate life’; 18 however, the contexts brought to bear on Spenser’s poetry by the violence and labour involved in colonial plantation refigure cosmic archetypes as localised struggle. By anchoring readings in the kinds of

in Edmund Spenser and the romance of space
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Geographies of the post-boom era
Denis Linehan and Caroline Crowley

Tiger and its subsequent demise was a ‘spatial drama’ involving transformation in the material landscape and the imaginative representation of the island. Fuelled by what the progressive Irish think-thank TASC has characterised as the Dublin Consensus – a mix of neoliberal and entrepreneurial discourses that consistently denied growing inequality and social exclusion – the Tiger years were read as the ‘best of times’ (Fahey, Russell and Whelan, 2007; Jacobson, Kirby and Ó Broin, 2006). The Celtic Tiger was very successful at generating a coherent image of Ireland in

in Spacing Ireland
Peter Minter

attributes. Signs of their production are everywhere, simultaneously embedded in the material landscape and in narrative and song: Every action of the ancestral beings had a consequence on the form of the landscape. The places where they emerged from the earth became waterholes or the entrances to caves; where they walked, watercourses flowed; and trees grew where they stuck their digging sticks in the ground … where they died hills formed in the shape of their bodies, or lakes formed from pools of their blood. Over time the features of the earth began to take shape, and

in Contemporary Olson
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Lindsay J. Proudfoot and Dianne P. Hall

as a set of interpretations that they attached to the social behaviours, economic activity and cultural inscriptions that they believed were enacted at particular locales in the material landscape. The meanings of place that attached to a particular locale for a given individual were inter-subjective. That is, they were informed by that person’s accumulating experience of other place meanings

in Imperial spaces