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"Social Geographies: An Introduction" by The Newcastle Social Geographies Collective is a new textbook that aims to create a market for a newer course on social geography. The book envisions a world where courses on human geography or cultural geography are oriented towards society-level dynamics and critical perspectives that explore power geometries and struggles across different spatial contexts. The book is organized into three sections and covers a wide range of topics, but its brevity allows for non-linear reading and remixing. While the quality of contributions may vary, the book is praised for its accessibility, lack of jargon, and engaging writing style. [Extracted from the article]

I The Story of Australia i writes against this trope; it unpicks the view that the history of Australia might be told as a quest for national identity. Accordingly, I The Story of Australia i responds to recent historiographical challenges to re-imagine the nation in terms of its multiple pasts and to think of the world in Australia, rather than Australia in the world. I The Story of Australia i is, then, heavily influenced by an Australian Studies approach which problematises the quest for national identity, a trope that has long framed many general histories. [Extracted from the article]

The geographies of disability have been an important part of Social and Cultural Geography since its inception. The journal has featured more than 100 research papers on different dimensions of disability, illness, impairment, ableism and (in)accessibility. In this virtual special issue, we selected ten of these papers to highlight key theoretical and empirical contributions made within the journal. These include the careful spatial theorisation of lived experiences of disabilities, and critical analyses of the shifting landscapes of care and support that shape the lives of many disabled people. Collectively, these papers signpost avenues for future research such as engaging with relational and more-than-human geographies, and developing a more global politics of disability. [ABSTRACT FROM AUTHOR]

The question of Tibetan refugees retains a unique matrix in world history. Though many Tibetans have fled from their motherland and settled in various parts of the world, they still believe themselves to be Tibetan citizens. Aaniya Asrani, through her three-part graphic non-fiction series Portraits of Exile, looks at the lives of Tibetans in exile residing in Bylakuppe. It is a geoGraphic novel that combines the spatial qualities of comics with geographical methods and is the first graphic narrative produced in India concerning the Tibetan experience. Asrani uses landscapes as fabrics for expressing the truth of refugeehood, and cultural trauma recalled through individual experiences. The paper attempts to look at Asrani's mapping project from the perspective of Geohumanities; her use of maps, structuring of landscapes, and assertion of identities is looked upon using the lens of narrative cartography, cultural geography, and place identity, respectively. [ABSTRACT FROM AUTHOR]

Papers of four decades published inLandscape Researchare reviewed in order to chronicle the journal’s development and to assess the academic performance of the journal relative to its own aims. Landscape Researchintends to reach a wide audience, to have a broad thematic coverage and to publish different types of papers with various methodological orientations. Cutting across these first aims are the interdisciplinary ambition of the journal, and its overall focus on landscape. These aims are evaluated based upon categorisation of article content, authorship and methodology, using data derived through interpretative inquiry and quantitative analyses. The results tell the story of howLandscape Researchhas developed from a newsletter of the Landscape Research Group, mainly aimed at practitioners, into an interdisciplinary, international journal with academic researchers as its primary community of interest. The final section discusses the current profile of the journal and identifies issues for its future direction and development. [ABSTRACT FROM PUBLISHER]

As a journal, I Social and Cultural Geography i has played a key role from the outset in publishing geographical work on gender and sexualities, not least in bringing this work to the attention of those who may not have directly engaged with these topics through more specialist journals. Although geographical work on sexualities had been published since the 1980s, and accelerated in the mid-1990s, in the early 2000s I Social and Cultural Geography i published a number of key texts which helped consolidate geographies of sexualities as an established subdiscipline. The development of more intersectional approaches to sexuality, gender and other social categories have also helped expand the fields of geographies of gender and sexualities in dialogue with other geographical sub-disciplines. Looking to the future We draw this commentary to a close by highlighting two (relatively) recent papers which have taken geographical work on sexualities and gender in exciting new directions, demonstrating that I Social and Cultural Geography i continues to publish cutting edge work in these fields. [Extracted from the article]

This paper calls for a recalibration of how cultural geography engages with music, lyrics, motion, and emotion. Within existing geographical work on music, research on the music itself remains scarce, with reflection on lyrics rarer still. This paper addresses this via a close reading of the work of the Glaswegian group, The Blue Nile. It examines how the trio – and especially their principal songwriter, Paul Buchanan – used lyrics as a means for articulating distinctive conceptions of movement and stillness. The significance of song-words themselves is considered, but so too is their mode of delivery, and their relationship to the enveloping musical settings they are embedded in. The importance of time, space and place in The Blue Nile's work is analysed and the methods by which they are evoked is investigated. The paper moves discussion on from well-covered terrain regarding music as a conduit for expressing youth focussed tropes, such as rebellion and speed, focusing instead on music's facility for voicing ideas of slowness and immobility, particularly in urban settings. In doing so, it demonstrates popular music's value for articulating sensations that are now being encountered with ever greater frequency, including those of stasis, drift, and disconnection. [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Social and cultural geographers have long-recognized the power of death to produce spaces, affects and values. This special issue explores intersections between social and cultural geographies of death, more-than-human geographies and political ecology. In this introduction, we situate non-human death as an everyday phenomenon that is part of cultural, material, discursive, organic and economic metabolic networks that transform space and produce value. We then summarize the papers in this special issue to highlight their contributions to everyday entanglements with non-human death. We conclude by introducing two concepts developed by the authors in this special issue, spectral presences and lively/deathly knowledges, to highlight how non-human death can produce immaterial artefacts that have lingering effects on human relationships with space long after non-human bodies are buried, eaten or decomposed. [ABSTRACT FROM AUTHOR]

This paper offers a critical reflection on the ways extractive industries manifest within and across place. Drawing on ethnographic research conducted in Mexico over 8 months in 2019–2020, this paper focuses on the experiences of residents living in a town adjacent to an underground silver mine in Valles Centrales, Oaxaca, Mexico. I argue that a focus on lived, sensory and long-term engagement between people and mining opens new avenues for geographers to consider 'what mining does'. Looking beyond the language of 'impacts', I build upon work on cultural geographies of presence and absence to put forward the notion of 'mining presence': mining's present and absent affects and materialities that interweave with residents' everyday lives, homes, bodies, and landscapes. In other words, I explore the qualities of mining that bring the San José mine into a neighbouring town and mediate spaces of daily life. In doing so, this paper contributes to the geographies of the extractive industries by showing that attention to life with mining requires a re-thinking of the spatiotemporal relations of extraction itself. [ABSTRACT FROM AUTHOR]

Engaging with a scene of the iconic movie Smoke (by Wayne Wang, 1995) in which a rephotographic project is sensitively elicited, this paper addresses the technique of repeat photography to contribute to methodological debates that have arisen within the nascent 'Mobility and Humanities' subfield. Through a humanistic perspective, the paper reviews and expands the nexus between mobility, photography and the urban by comparing the technique with three methodological issues: the blurring of supposed binaries, such as traditional/innovative, static/moving and fast/slow; the possibility of grasping the mobilities of the world in a post-human vein; and the opportunity to also consider techniques as sites for reflection. To address these issues, the paper draws from philosophies of movement, post-phenomenological and object-oriented stances and visual and urban cultural geographies. With reference to the urban realm, this paper proposes three perspectives on rephotography, namely (1) rephotography as a practice of slow and rhythmic attunement with circumstantial spacetimes moving backwards and forwards; (2) rephotography as a visual ontography that displaces the human and opens up space for the apprehension of the agency and mobility of things; and (3) rephotography as a continual process of activation of moving gazes on cities and their imaginaries. [ABSTRACT FROM AUTHOR]

Creative clusters are increasingly being recognized as vital tools in the promotion of the competitiveness, innovation, urban development, and growth of cities in developed countries. This paper studies the geography of Cultural and Creative Industries (CCIs) in Barcelona (Spain) for the years 2009 and 2017. We investigate the spatial distribution of firms using the Scan methodology, which identifies the localization of clusters and assigns them statistical significance. Our findings indicate that CCIs are not located haphazardly— they tend to cluster in and around Barcelona's prime districts. The evolution of the clusters over these nine years reveals distinct patterns of clustering among the twelve CCI sub-sectors. The mature clusters in Barcelona's core tend to have greater growth and enhanced transformation capabilities. Our results can guide CCI cluster policy, taking into account the specificity of each sub-sector. In addition, they can direct place-based development strategies, creative urban and rural planning, and restructuring in a polycentric context. [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper describes the Culture and Communities Mapping Project, a study that uses cultural mapping to understand the relationships between the Edinburgh's cultural spaces and local communities. The paper begins by detailing different methodological paths that those carrying out cultural mapping projects will navigate: formatting the project to collect quantitative or qualitative data, which is usually correlated with tangible or intangible data, as well as approaching the map as a means to policy outcomes or as part of a process of community building through collective memory, or both. The paper then offers an in-depth case study of the Edinburgh-based map, a tool that artists, art institutions, and policy makers can use to better understand Edinburgh's cultural geography and guide further research on arts equity and access. The findings section concludes with thoughts on what the project reflects about the cultural mapping enterprise more broadly. [ABSTRACT FROM AUTHOR]

Advancing social and cultural geography's interest in sport, exercise and commuting, as well as the everyday experiences of movement, materiality, and rhythm, this paper provides the first account of run-commuting experiences through a focus on running with a bag. Run-commuting is an emerging active travel practice in which people run to and/or from work. It blurs the usual separation of mobilities related to work and those related to sport, exercise and leisure. In doing so, new body-objects assemblages are introduced into running and commuting practices that have marked impacts on the experiences of mobility. Drawing on interviews and run-alongs with 19 UK run-commuters, this paper explores one such defining experience – running with a bag. Drawing together the concepts of affective materialities and rhythm with work on mobilities and sport, this paper discusses how experiences of running with a bag are marked by disruptive rhythms, managing rhythms and acclimatising to such rhythms. As such, this paper demonstrates the centrality of objects in facilitating and constraining practices, as well shaping the experiences of mobility and exercise. The novel engagement with material and bodily rhythms in this paper also offers fruitful avenues for future mobile, sporting, material and rhythmic thinking in geography. [ABSTRACT FROM AUTHOR]

Geographers have long been interested in popular culture, exploring everything from music and film, to fashion and sport. However, there remain some gaps in the field with some of the biggest and most widely consumed genres of popular culture suffering from neglect. Given the pace of technological change, geographers have been noticeably slow to come to grips with new digital popular media. This special issue presents work that interrogates popular culture ranging from the new to the old for its role as a vector for, or entry point into, encounters with places and people, and as a producer of spatiality and social relations. This editorial uses the concept of (em)placement to identify the complex overlaps, imbrications, and interlockings between social, cultural, and technological actors/actants. (Em)placement is also deployed to expand the space for popular culture as an object of study in geography in order to foster more diverse engagements, and the freedom to engage, with popular culture in the discipline. In doing so, we highlight contributions to cultural geography, bringing into focus the ways in which popular culture has been redefined in a time of heightened digital and deterritorialized engagement alongside restrictions on physical interaction enforced during the COVID-19 lockdowns. Finally, the editorial introduces the seven papers in this special issue, drawing attention to workaday and active engagements with popular culture, and how such engagement can facilitate encounters as [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This issue is dedicated to the question of how research on technology and its inherent temporality and materiality can enhance our understanding of geography, culture and history in Central Asia. The articles provide fresh ideas on Central Asia as a region by unpacking the "hard" infrastructural base of its cultural, social, and economic geography. They offer a more inclusive view on Central Asian landscapes, focusing on permanent material structures and vernacular practices that are often overlooked in conventional historiography and social studies research. Finally, they explore how research on technology both supports and challenges the primacy of political history in defining the historical periods and legacies of Central Asia. The papers cover about 150 years of history, with case studies on what are today Kazakhstan, Uzbekistan, Tajikistan, and Mongolia. This introductory essay summarizes their key insights, situating them in a wider debate on technology in and beyond Central Asia. [ABSTRACT FROM AUTHOR]

Copyright of GeoHumanities is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The demands passengers place on contemporary public transport systems are increasingly focused on providing a safe, comfortable and reliable transport experience. One expression of these demands is the recent introduction of designated quiet carriages to trains. The experience of travelling in these spaces has been given little academic scrutiny. Using a case study of the commuting experience between Newcastle and Sydney, New South Wales (NSW), Australia, this paper investigates the practices, relations and affective atmospheres of quiet carriages. The paper argues that passengers on trains come together to craft quiet through interactions between human and material actors. This crafting of quiet results in noticeably different quiet atmospheres at different times of day and in different parts of the journey. Drawing on participant observation including an auto-ethnographic account of travelling in a quiet carriage, the paper distinguishes between four types of quiet crafted by the passenger collective – sleepy and comfortable quiet, busy quiet, tense quiet and spooky quiet. These four types of quiet play upon the body with different intensities and some have stronger affects that linger after the completion of the journey. [ABSTRACT FROM PUBLISHER]

This article examines the role that material belongings play in displacement processes. Following the evacuation of the housing complex Hannibal II in Dortmund (Germany), the displacement of its 753 tenants, and the conflicts that ensued over the belongings they were forced to leave behind, we ask how the governance of material belongings shapes processes and experiences of displacement. Through an approach that brings in dialogue the cultural and legal significance of material belongings, we focus on the practices governing relationships between subjects, things, and place in displacement processes. Drawing on interviews with tenants, the legal framework governing property and possessions, and the proceedings around the tenants' claims regarding their belongings, the findings disentangle a dual function of material belongings in displacement processes: First, they consider how belongings and their legal governance complicate the temporalities of displacement; second, they examine how the negotiation of the cultural significance of things has an impact on tenants' subjectivities. The paper concludes that in displacement processes, tenants' precarious claims to ownership over their stuff are, at the same time, voicing claims to social and spatial belonging that oppose broader domestic injustices. [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Tartiflette has become an emblematic dish of the French Alps and the atmosphere of winter sports. Few realize that this hearty concoction of melted Reblochon cheese, potatoes and bacon is an invention of the 1980s, with dubious creation stories still contested in recipe books and magazines, and behind the scenes on its Wikipedia page. In this paper it is argued that the precise origin of tartiflette is less important than the aptness of its invention, the connections with tradition that are made for it, and the place it enjoys within the widely-held atmospheric imaginary of winter sports tourism. A runaway success story which has changed the face of the Reblochon cheese on which it is built, tartiflette appears today every bit as authentic an Alpine experience as downhill skiing itself. But by analyzing English and French language archival materials, and drawing upon ideas in cultural geography, anthropology and history, it is demonstrated that behind its authenticity lies a compelling story of re-invention that is inescapably part of the cultural expression of modernity. [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the politics and practices of commemoration in the aftermath of Turkey's July 15, 2016 coup attempt. Developing a concept of "memorial publics," this paper examines two distinct but interrelated forms of commemoration: websites that have been set up to tell the story of the resistance to the coup attempt and a new monument that commemorates the victim-heroes of that night's fighting. I focus on two shared aspects that link the digital and the physical: The use of key terms to frame the coup attempt's heroes and villains, and the role of website and architectural design in focusing the audience's attention. I argue that these commemorative projects work together to create a memorial public in which President Recep Tayyip Erdoğan's position is both naturalized and justified. This paper's analysis contributes to geographers' ongoing interest in the symbolic and material dimensions of cultural and political geographies. [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the discourses used by proponents of the Dakota Access Pipeline (DAPL) as claims of universality to which the Standing Rock Sioux tribe and allied activists mounted a movement of opposition in 2014–2017. We position our analysis within the historical context of Lakota and Dakota resistance to settler colonialism, which has endured since the nineteenth century. From publicly available texts circulated by key actors in the conflict over the construction of this pipeline project, we identify themes that proponents of this project drew upon to articulate their representations of the land as universal. We suggest that claims like these, when naturalized in practice, have historically materialized in settler colonial landscapes. With the concept of settler colonial landscapes, we focus on ways of seeing and representing places that have facilitated the dispossession of Indigenous people from their territory as well as the construction of a settler-dominated community. In this way, we develop a cultural geographical understanding of the ongoing construction of settler colonial landscapes as a process dependent on claims to neutrality and objectivity. [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explains Feeling and Hearing Country as an Australian Indigenous practice whereby water is life, Country is responsive, and Elders generate wisdom for a communicative order of things. The authors ask, as a society of Indigenous people and those no longer Indigenous to place, can we walk together in the task of collectively healing Country? The research method uses experiential, creative, propositional, and practical ways of knowing and being in and with local places. Evidence may take many forms based upon engagement with an animate, sentient world. The research method can generate new meanings, implications and insights, and regenerate practical knowledge of Country. As an Indigenous tradition, Feeling and Hearing Country can enable the regeneration of healing life energies. It can help freshen up stories, knowledges, and help link ancestral wisdom to the present while co-creating healthy futures. Feeling and Hearing Country can enliven the human spirit, landscapes, and all beings via a participative, creative process that is helpful for the planet at this climate time, when many humans have forgotten their place in the world. As a research method, Feeling and Hearing Country can support the unlearning of epistemological errors for reinstating vitality in things. [ABSTRACT FROM AUTHOR]

In the context of endeavors within social and cultural geography to conceive new models of subjectivity outside the classical model of the subject, this paper explores the possibility of a writing of subjectivity outside of the anthropocentric grammars that centralize the human subject as the locus of thought and action. To do so, we turn to the literary work Tropisms by French author Nathalie Sarraute for its expression of unconscious and impersonal 'micromovements' that evoke a mode of subjectivity that is no longer that of a given human individual. Sarraute's work, with its attentiveness to and amplification of surreptitious yet forceful events that influence how we think and how we act, its rejection of individualized psychological ideas about human experience and its experimentation with what literature can do, creates singular portraits of socio-spatial life in its unfolding and thus evokes different kinds of subjectivities – what we term a 'subjectivity without subjecthood'. To extrapolate from Sarraute's writing, we turn to Félix Guattari's theorization of subjectivity through a 'machinic' unconscious. In doing so, we draw out three dimensions of subjectivity as portrayed in Sarraute's work: its collective, asignifying and non-linear character. [ABSTRACT FROM AUTHOR]

Gamification in digital design harnesses game-like elements to create rewarding and competitive systems that encourage desirable user behaviour by influencing users' bodily actions and emotions. Recently, gamification has been integrated into platforms built to fix democratic problems such as boredom and disengagement in political participation. This paper draws on an ethnographic study of two such platforms – Decide Madrid and vTaiwan – to problematise the universal, techno-deterministic account of digital democracy. I argue that gamified democracy is frictional by nature, a concept borrowed from cultural and social geographies. Incorporating gamification into interface design does not inherently enhance the user's enjoyment, motivation and engagement through controlling their behaviours. 'Friction' in the user experience includes various emotional predicaments and tactical exploitation by more advanced users. Frictional systems in the sphere of digital democracy are neither positive nor negative per se. While they may threaten systemic inclusivity or hinder users' abilities to organise and implement policy changes, friction can also provide new impetus to advance democratic practices. [ABSTRACT FROM AUTHOR]

Copyright of Tourism Geographies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The introduction of the Teaching Excellence Framework (TEF) in 2016 has placed the practice and quality of teaching centre of the UK university agenda, with concerns around contact, delivery, research/teaching balance and facility support framing debates within institutions. Situating the implementation of blended learning on a year 2 cultural geography in the broader context of these discussions, this paper explores some of the challenges and opportunities this approach has in addressing some of these broader concerns, whilst improving student engagement and performance. [ABSTRACT FROM AUTHOR]

This paper offers a long-term reflection on the introduction of a photographic research project into a third-year undergraduate Human Geography module. The findings indicate that, whilst the students valued the project, it did impact on their overall performance, their evaluation of the module and the ways in which they spoke about it. The paper complements other discussions of photographic research methods in Human Geography by confirming their popularity and value to students' learning but argues that their introduction requires planning and reflection to mitigate some of the unintended consequences noted here and to maximize their benefits. [ABSTRACT FROM PUBLISHER]

Since the early 1990s archaeologists have suggested archaeological and cultural heritage sites (cultural sites) will face major challenges from anthropogenic climate change. While techniques to manage such impacts are emerging, no planning tools exist for bottom-up, community-based management of the issue. This paper forms part of an overarching research project that aims to fill this gap by developing a bottom-up planning guide (the Guide). The paper tests the first of the proposed Guide’s five phases: the scoping phase. It presents the results of workshops conducted with two Australian Indigenous rangers groups. While existing studies document Indigenous peoples’ perceptions of climate change in general, none have focussed on their perceptions of impacts on cultural heritage sites. Here, Indigenous rangers related strong perceptions of particular climate change impacts on specific cultural sites in particular bio-regions. While the rangers were actively engaged with sites, they felt site management should be extended in the face of additional threats from climate change. Rangers were able to nominate a preferred methodological approach, based on a risk analysis of biophysical hazards, as well as local adaptive capacity building in the face of governance challenges. Various barriers to adaptation planning and resource limitations were identified but these were not regarded as insurmountable in terms of the current project. Testing of the scoping phase of the Guide suggested rangers had a strong organisational capacity to achieve practical adaptation results. [ABSTRACT FROM PUBLISHER]

Copyright of GeoHumanities is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper commences a geographical engagement with makerspaces, hacklabs, and other workshop spaces which form part of a broader ‘maker movement’. It examines the arts of inquiry and experimentation found at one such site, drawing on ethnographic field work at the Edinburgh Hacklab, and makes connections with emerging themes of interest to geographers, including creativity, experiment, art, and nonhuman agency. Putting standard innovation-driven narratives of makerspaces into question, attention is instead turned to the events of emergent experimentation and creativity taking place in these spaces. To this end, Andrew Pickering’s concept of ‘ontological theatre’, describing powerful focal instances of agential symmetry between humans and nonhumans, is engaged with, in order to understand the links between Hacklab activities and emergent and complex aspects of nonhuman agency. [ABSTRACT FROM PUBLISHER]

The project “Understanding Everyday Participation – Articulating Cultural Values” (2012–2018) explores the ways in which the “situatedness” of participation is an important factor in understanding the socio-political dynamics of cultural participation [Miles, A., & Gibson, L. (2016). Everyday participation and cultural value.Cultural Trends,25(3), 151–157]. This paper on the geography of library use is an early presentation of ongoing research which seeks to understand the impact of geography and asset “attractiveness” on particular kinds of cultural participation. Many studies have focused on traditional “push” factors to participation, understanding attendance and participation in their various forms through individual- and household-level demographic and socio-economic characteristics [e.g. Bennett, T., Savage, M., Silva, E., Warde, A., Gayo, M., & Wright, D. (2009).Culture, class, distinction. London: Routledge]. However, a number of recent studies have also revealed the significant effects of supply and proximity on participation [Brook, O. (2013). Reframing models of arts attendance: Understanding the role of access to a venue. The case of opera in London.Cultural Trends, 22(2), 97–107; Brook, O. (2016). Spatial equity and cultural participation: How access influences attendance at museums and galleries in London.25(1), 12–34; Widdop, P., & Cutts, D. (2012). Impact of place on museum participation.Cultural Trends, 21(1), 47–66; Hooper-Greenhill, E., Phillips, M., & Woodham, A. (2009). Museums, schools and geographies of cultural value.Cultural Trends, 18(2), 149–183]. In this paper, our approach to the geography of cultural participation focuses on the role of what we are terming “pull factors” to participation at specific locales over others. Many forms of participation in socio-cultural activities involve a level of spatial decision-making, weighing up factors relating to the destination(s), and the time and effort of getting there. How much do these “pull factors” impact on participation, and are they quantifiable? In order to understand if these spatial considerations are an explanatory factor in explaining the socio-demography of library use, we have applied the urban planning concept of trip-chaining and a geographically defined categorisation of asset attractiveness [O’Reilly, N., Berger, I. E., Hernandez, T., Parent, M. M., & Seguin, B. (2015). Urban sportscapes: An environmental deterministic perspective on the management of youth sport participation.Sport Management Review, 18, 291–307.; Thill, J.-C., & Thomas, I. (1987). Toward conceptualizing trip-chaining behavior: A review.Geographical Analysis, 19, 1–17] to reveal the extent to which a library visit is linked to other everyday activities. This paper introduces the preliminary findings of this study which aims to assess the impact of geospatial variables on cultural participation. [ABSTRACT FROM AUTHOR]

CollisC., FreebodyS. and FlewT. Seeing the outer suburbs: addressing the urban bias in creative place thinking,Regional Studies. This paper draws upon quantitative and qualitative research into Australian cities to question the assumption that creative industries workers inherently seek to cluster in inner-urban areas. It challenges this foundational assumption by combining a critical application of the location quotient analysis of major Australian cities with qualitative research drawn from interviews with creative workers based in suburban Melbourne and Brisbane. The findings provide analyses as to why many creative industries workers prefer to locate themselves in outer suburban places. There is also discussion of the implications of these findings for future work on the cultural geography and policies of creative industries. CollisC., FreebodyS. and FlewT. ??????????????????????????????????????????????????????????“??????????????”????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ?????????????????????????????? CollisC., FreebodyS. et FlewT. Visiter la grande banlieue: aborder le biais urbain de la pensée créatrice,Regional Studies. Cet paper puise dans des recherches qualitatives et quantitatives au sujet des grandes villes australiennes afin de mettre en doute l'idée que les travailleurs des industries de la créativité cherchent à se regrouper naturellement en banlieue. On débat cette idée fondamentale en alliant une application critique de l'analyse du quotient de localisation des principales grandes villes australiennes à des recherches qualitatives puisées dans des interviews auprès des travailleurs dans les industries de la créativité basées en banlieue, à Melbourne et à Brisbane. Les résultats permettent une analyse des raisons pour lesquelles beaucoup des travailleurs des industries de la créativité préfèrent se retrouver dans la grande banlieue. On discute aussi des conséquences de ces résultats pour ce qui concerne la future recherche sur la géographie culturelle et les politiques des industries de la créativité. Industries de la créativité?Banlieue?Quotient de localisation?Grandes villes créatrices?Géographie urbaine?Géographie économique CollisC., FreebodyS. und FlewT. Blick auf die Vorstadt: eine Untersuchung der Überbetonung der Stadt im örtlichen kreativen Denken,Regional Studies. In diesem Beitrag wird mit Hilfe von quantitativen und qualitativen Studien über australische Städte die Annahme in Frage gestellt, dass Erwerbstätige der kreativen Branchen grundsätzlich Cluster in Innenstadtbereichen bilden. Zur Hinterfragung dieser Grundannahme wird eine kritische Anwendung der Standortquotientenanalyse von wichtigen australischen Städten mit den qualitativen Forschungsergebnissen von Interviews mit Erwerbstätigen kreativer Berufe in den Vororten von Melbourne und Brisbane kombiniert. Die Ergebnisse ermöglichen eine Untersuchung der Frage, warum sich viele Erwerbstätige der kreativen Branchen bevorzugt im äußeren Vorstadtbereich ansiedeln. Ebenso wird erörtert, wie sich diese Ergebnisse auf die künftige Arbeit über die kulturelle Geografie und Politik der kreativen Branchen auswirken. Kreative Branchen?Vororte?Standortquotient?Kreative Städte?Stadtgeografie?Kulturwirtschaftsgeografie CollisC., FreebodyS. y FlewT. Una mirada a los suburbios exteriores: análisis del sesgo urbano en el pensamiento creativo,Regional Studies. Este artículo se basa en un estudio cuantitativo y cualitativo de ciudades australianas para cuestionar la hipótesis de que los trabajadores de industrias creativas buscan intrínsecamente aglomerarse en centros urbanos. Cuestionamos esta hipótesis fundamental al combinar una aplicación crítica del análisis del cociente de ubicación de las principales ciudades australianas con una investigación cualitativa llevada a cabo mediante entrevistas a trabajadores creativos de zonas suburbanas de Melbourne y Brisbane. Los resultados permiten analizar cuáles son los motivos por el que muchos trabajadores de industrias creativas prefieran ubicarse en zonas suburbanas exteriores. También abordamos las repercusiones de estos resultados para el futuro trabajo en la geografía y las políticas culturales de las industrias creativas. Industrias creativas?Suburbios?Cociente de localización?Ciudades creativas?Geografía urbana?Geografía económica cultural [ABSTRACT FROM PUBLISHER]

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Common stereotypes of a homogeneous Amazonia belie the complexity and diversity of peoples and landscapes across the region. Although often invisible to the outside world, diverse peoples-indigenous, traditional, migrant, urban dwellers and others-actively construct their identities and shape cultural and political landscapes in diverse ways throughout the region. This volume combines political ecology, with its emphasis on identity, politics, and social movements, with insights from cultural geography's focus on landscapes, identities and livelihoods, to explore the changing nature of Amazonian development. These papers focus on indigenous identity and cosmology; changing livelihoods and identities; and transboundary landscapes. They highlight the diversity of proactive, place-based social and political actors who increasingly raise their voices to contest and engage with Amazon development policies. Based on their history, social values, and livelihood practices, such groups propose alternative ways of understanding and managing Amazonian landscapes. [ABSTRACT FROM AUTHOR]