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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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Martin Dodge

from the Italian palazzos of the Renaissance era, these warehouses symbolise, in architectural terms, something of the tremendous scale of the cotton economy and its huge impact on the social and material landscape of south Lancashire. They were specialised retail spaces, not merely vast storage sheds. In many ways they operated like department stores for wholesale buyers – places to inspect the goods, feel the quality of cloth, and choose from myriad available patterns and print designs. These warehouses also often included the business offices that facilitated

in Manchester
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.

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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.

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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Author: John Potvin

Richly illustrated with over 110 colour and black and white images, the book productively contests the supposedly exclusive feminine aspect of the style moderne (art deco). It explores how alternative, parallel and overlapping experiences and expressions of decorative modernism, nationalism, gender and sexuality in the heady years surrounding World War I converge in the protean figure of the deco dandy. As such, the book significantly departs from and corrects the assumptions and biases that have dominated scholarship on and popular perceptions of art deco. The book outlines how designed products and representations of and for the dandy both existed within and outwith normative expectations of gender and sexuality complicating men’s relationship to consumer culture more broadly and the moderne more specifically. Through a sustained focus on the figure of the dandy, the book offers a broader view of art deco by claiming a greater place for the male body and masculinity in this history than has been given to date. The mass appeal of the dandy in the 1920s was a way to redeploy an iconic, popular and well-known typology as a means to stimulate national industries, to engender a desire for all things made in France. Important, essential and productive moments in the history of the cultural life of Paris presented in the book are instructive of the changing role performed by consumerism, masculinity, design history and national identity.

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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