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To link to full-text access for this article, visit this link: http://dx.doi.org/10.1016/j.jhg.2005.10.002 Byline: Sarah G. Cant Abstract: This paper examines historical geographies of speleology in Britain between 1935 and 1953. As the study of caves, speleology was constructed as a sporting-science. The paper traces the formation and activities of the British Speleological Association, the influence of the speleologist Eli Simpson, arguments relating to the practice of speleology, and the formation of the Cave Research Group in 1947, to examine the geographies of science that emerge through speleology. By tracing some of the spatial, social and practical issues within the histories of speleology, distinct social and regional geographies are uncovered. Debates about practising science, definitions of speleology as sporting-science and 'the right kind of speleologist' complicate the geographical histories of speleology within Britain. As well as emphasising the spatial outcomes of these issues, I suggest that personality can also impact upon geographies of science in profound ways. Author Affiliation: School of Geography, University of Plymouth, Drake Circus, Plymouth, Devon PL4 8AA, UK

This paper traces the creative processes employed by artists participating in the 2004 Hebden Bridge Sculpture Trail and examines relationships between place, art and site-specificity. The Trail is a popular, temporary annual local arts event that invites international artists, students and community art groups to create and exhibit site-sensitive sculpture within Hardcastle Crags in Yorkshire, England. We consider some of the multiple ways in which artists mediate relationships between 'site' and artwork. We connect geographical concepts of place that highlight location, locale and sense of place, with mobile understandings of site as porous and flowing. The paper positions geographical research of art, opening out art and site in a non-urban environment through comparative discussion of concepts of 'place' and three 'paradigms' in site-specific art (phenomenological, social/institutional and discursive, Kwon 2002). Three elements of site-specificity - histories, natures, interactions - are then explored through fourteen artists' creative practices and our documentation of the installation of their artwork in the Trail. We highlight the juxtaposition of 'sites' within the Trail, the over-lapping of 'paradigms' within individual artworks, and transitory aspects of 'site' to suggest that 'time' holds great significance in understanding site-specificity, place and art outdoors. [ABSTRACT FROM AUTHOR]