cultural geographies

This paper will consider how we might think about the capitalist economy that now seems to be emerging, one based on spontaneous synthesis. Following an extended introduction, the first part of the paper examines the main changes that have been taking place in the economy grouped around the notion and value of innovation. I will argue that these changes might be thought of as adding up to a second industrial revolution. Then, in the second part of the paper, I will consider how these changes are producing a different kind of production – one that is both industrial and cultural – which is constructing naturalism. The Industrial Revolution is often characterized as the first break in human history with the natural economy. But what if the natural economy was now being recovered – by other means – as a redefinition of what counts as land? In the final part of the paper, I will then turn to modern cities and the imprint that these changes are making upon them as this new land is founded and endowed and rented out to grow new kinds of crop upon.

What makes the figure of the passenger distinctive as both a subject and an object of mobility and transportation systems? What distinguishes the passenger from other mobile subjectivities, from nomad, flaneur to consumer? How is the passenger represented, practiced and performed? How has the passenger and their experiences been conceived, imagined, manipulated, regulated and engineered? And what kind of human-technology assemblages do passengers enact? Through four short perspectives, this paper seeks to ‘profile’ the passenger as a distinctive historical and conceptual figure that can help to add greater precision to the analysis of our mobile ways of life. The passenger is explored as an object of speculative theoretical debate, a figure entangled in a host of identities, practices, performances and contexts, and an important way to illuminate key conceptual problematics, from representation to embodiment.

From the mid-1980s the influence of identity politics and poststructuralism has sought to replace the idea of a ‘unified’ identity with the concept of dynamic, multiple and fractured identities. However, it has been suggested that there is an ontological problem with researching dynamic conceptions of identity and that all too often people treat forming and formative processes (such as the makings and doings of identity) as fixed and formed wholes. This article attempts to address this concern through an exploration of the ‘doings’ of Scottish national identities. Drawing on a nonrepresentational inspired study of (‘Scottish’) musical performances the project presented in this article seeks to explore how a study of the ephemeral, emotionally charged moments of (‘Scottish’) musical performance might shed new light on the nature and (re)production of Scottish national identities in the making or the doing. This article therefore makes a contribution to understandings of ‘Scottishness’ (as lived experiences), but, it also makes a contribution to the geographies of music literature by highlighting the need to further explore the practical and performative dimensions of ‘musicking’.

Humour was at the core of the spatial imaginary of the emerging French avant-garde of the 1880s. But what was the specific role of different forms of humour in their attempts to re-imagine urban place and community? In this article I develop a non-representational historical geography of the aesthetics of place in fin-de-siècle Montmartre. The article analyses how Montmartre artists used humour in order to inject new life and vitality into the urban environment. The ambivalence of humour made it a powerful device through which to experiment with creating a novel experience of place and stylizing an affirmative urban ethos. Two modes of humour in particular were predominant: irony and pantomime buffoonery. Through irony, they attempted to create an experience of place that encompassed the contradictory and fugitive nature of the modern city. In buffoonery, they found a way of affirming the city’s potential at the same time as remaining alive to its suffering and violence. In combination, this urban ethos can be theorized as a form of ‘affirmative pessimism’.

Drawing on the theoretical insights of Paul Ricoeur this paper investigates the geographies of public remembrance in a post-conflict society. In Northern Ireland, where political divisions have found expression through acts of extreme violence over the past 30 years, questions of memory and an amnesty for forgetting have particular resonance both at the individual and societal level, and render Ricoeur’s framework particularly prescient. Since the signing of the Belfast Agreement in 1998, initiating the Peace Process through consociational structures, discovering a nomenclature and set of practices which would aid in the rapprochement of a deeply divided society has presented a complex array of issues. In this paper I examine the various practices of public remembrance of the 1998 bombing of Omagh as a means of understanding how memory-spaces evolve in a post-conflict context. In Omagh there were a variety of commemorative practices instituted and each, in turn, adopted a different contour towards achieving reconciliation with the violence and grief of the bombing. In particular the Garden of Light project is analysed as a collective monument which, with light as its metaphysical centre, invited the populace to reflect backward on the pain of the bombing while at the same time enabling the society to look forward toward a peaceful future where a politics of hope might eclipse a politics of despair.