Creativity and Geography: Toward A Politicized Intervention*
Creativity and Geography: Toward A Politicized Intervention*
复制标题
创造力与地理：走向政治化干预*
DOI：
--
复制
发表时间：
2013
期刊：
影响因子：
--
通讯作者：
Sarah de Leeuw
中科院分区：
文献类型：
--
作者：
S. Marston;Sarah de Leeuw
无论地理学家是直接或间接地与艺术家和作家及其创造性产品打交道，还是自己创作艺术或文学作品，都不乏证据表明这些交往的出现有些规律，但也经常解体。(1)这种关系跨越了地理探险时代以来的努力，可以追溯到斯特拉波的《地理学》的古典希腊罗马时期。尽管解释框架变幻莫测，但艺术产品（如绘画、文学、电影、音乐）作为经验对象的地位在地理学中至少在过去50年是一致的。在这个时代，地理和艺术之间的关系可能不那么基于实践。然而，在过去的十年里，地理学作为一门学科再次以基于实践的方式与创造力相结合（Crang 2010; Dear等人2011; Hawkins 2011;托马斯等人2011）。正是这些最新的联盟，合作和个人创造力，我们调整这个地理评论特刊。如果说地理知识的形成和创造性实践之间的关系有着悠久的历史，那么地理学家创造性的表达方式作为一种政治批评形式的潜力却没有得到太多的研究。这更令人惊讶，因为这种政治批评和社会理论-参与分析已经成为过去二十年对他人创造性作品的地理探索的标志，无论这些作品是风景艺术家，作家还是电影制片人（Daniels 1989;巴恩斯和邓肯1992）。文化和政治的这种重叠是20世纪后几十年所谓新形式的文化地理学出现的特征，并使地理学和艺术之间的解释关系更加尖锐。在此之前，艺术实践在描述性实践的星座中占有一席之地，其中还包括构成二十世纪地理学地形传统的计数和测量（Daniels 2011）。因此，对新文化地理学的政治批评标志着地理学家对各种创造性实践的解释方法的性质以及他们的产品如何被理解为在世界上发挥作用的重大转变。这一方法继续演变，以接受新的政治形式，并考虑到重新审视作为早期方法核心的代表性理解的解释框架。(2)事实上，最近，艺术家、作家和地理学家的合作创作，以及地理学家作为实践艺术家和作家的个人作品，越来越多地成为政治批评的力量，无论是关于风景艺术的女权主义思想，（关于这一当代趋势的早期例子，见Nash 1997）;人类与非人类的关系（Yusoff 2008），或参与式艺术实践和方法的讨论（麦肯齐2004; Parr 2007;约翰斯顿和普拉特2010; Tolia-Kelley 2012; Ingram 2013）。《地理评论》这期特刊的显著特点是将人文地理学的这种"创造性（重新）转向"公开政治化（Hawkins 2010，2013）。为了展示当代地理学家作为创造性实践者和合作者所从事的各种工作实践，我们从实践艺术家/作家，学术地理学家和那些模糊这些离散分组的人那里征集了一些作品。结果是18个贡献-包括诗歌，散文（小说和创造性的非小说），从小说摘录，照片，印刷品，图形叙事，功能采访，并对戏剧论坛戏剧的评论-所有这些都表现出对当代社会和空间关系和实践的政治批评或干预和评论知识生产的政治。…
Whether geographers have engaged directly or indirectly with artists and writers and their creative products or have themselves produced artistic or literary work, there is no dearth of evidence for both the somewhat regular appearance and the frequent dissolution of these engagements.(1) The relationship spans efforts since the age of geographical expeditions and arguably goes back to the classical Greco-Roman period of Strabo's Geographicus. Despite vagaries of interpretative frameworks, the place of arts products--such as painting, literature, film, music--as empirical objects has been consistent within geography over at least the last fifty years. Perhaps less present during this era has been a more practice-based relationship between geography and the arts. In the last ten years, however, geography as a discipline has again become involved with creativity in a practice-based way (Crang 2010; Dear and others 2011; Hawkins 2011; Thomas and others 2011). It is with these most recent sets of alliances, collaborations, and individual creativities that we align this special issue of the Geographical Review. If the relationship between geographical knowledge-making and creative practices has an extensive history, creative expression produced by geographers has not been much examined for its potential for and as a form of political critique. This is all the more surprising, for such political critiques and social theory--engaged analyses have been a hallmark of the last two decades of geographical explorations of the creative productions of others, whether these be landscape artists, writers, or filmmakers (Daniels 1989; Barnes and Duncan 1992). Such foldings of the cultural and the political were characteristic of the emergence of so-called new forms of cultural geography in the latter decades of the twentieth century and were responsible for sharpening the interpretative relationship between geography and the arts. Prior to this period, arts practices held a place in the constellation of descriptive practices, which also included the counting and measuring that constituted twentieth-century--geography's topographic tradition (Daniels 2011). The political critique of new cultural geography therefore marked a significant shift in the nature of the interpretive approach geographers took to a variety of creative practices and how their products were understood to go to work in the world. This approach continues to evolve to embrace new forms of politics and to take account of frames of interpretations that revisit the understandings of representation that sat at the heart of earlier approaches. (2) Indeed, recently the collaborative creative work undertaken by artists, writers, and geographers, as well as the solo work being developed by geographers as practicing artists and writers, has increasingly been engaged as a force of political critique, whether this be with respect to feminist thinking on landscape art (for an early example of this contemporary trend, see Nash 1997); human-nonhuman relations (Yusoff 2008), or discussions of participatory arts practices and methods (Mackenzie 2004; Parr 2007; Johnston and Pratt 2010; Tolia-Kelley 2012; Ingram 2013). The distinguishing feature of this special issue of the Geographical Review is an overt politicization of this "creative (re)turn" in human geography (Hawkins 2010, 2013). In an effort to present the kinds of working practices contemporary geographers have been engaging with as creative practitioners and collaborators, we solicited pieces from practicing artists/writers, academic geographers, and those who blur these discrete groupings. The result is eighteen contributions--including poetry, essays (fiction and creative nonfiction), an excerpt from a novel, photographs, prints, a graphic narrative, a feature interview, and a commentary on a dramatic forum-theater play--all of which perform political critiques of contemporary social and spatial relations and practices or intervene in and comment on the politics of knowledge production. …
文化地理学：时尚之后
影响因子：
1.6
作者：
Crang P
通讯作者：
Crang P
DOI：
10.1111/j.1475-5661.2012.00529.x
发表时间：
2012
影响因子：
3.3
作者：
Driver F
通讯作者：
Driver F