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1229 | 932 | « Rio Tinto Fieldschool: A journey through the red mirror of the Anthropocene » an multidisciplinary approach of a landscape | Barrero García, Lucas & Vélez Agosto, Gabriela.

This communication presents the experience of the « Rio Tinto Fieldschool: A journey through the red mirror of the Anthropocene » as a methodology for on-site research and interdisciplinary exploration of the Rio Tinto basin by a team of researchers, artists, and activists. The 102 km-long river runs through a large part of the province of Huelva, Spain, from its source near the historic open-pit mines of Rio tinto and the toxic waste dump in Nerva, to its mouth in the Atlantic Ocean, where the chemical industry and its waste converge with intensive berry plantations._x000D_
_x000D_
Along this red-acidic river, the socio-environmental issues were analyzed, and alternative futures for this sacrifice zone were imagined. As part of the journey, the participants collaboratively mapped their experiences, local community testimonials, environmental impacts, and sensations (smell, visuals, etc.). Additionally, a collection of photographs, videos, and audio was made to accompany the map. The fieldschool experience highlighted the importance of on-site exploration and lived experience as a form of research in Geohumanities will also be discussed._x000D_
_x000D_
Finally, this communication aims to deepen the methodological debate on the study of sacrifice zones as places of the Anthropocene through a multitemporal (past, present, and future) and multidisciplinary perspective.

Barrero García, Lucas & Vélez Agosto, Gabriela.
Institute of Environmental Science and Technology (ICTA-UAB); University of Barcelona.

 
ID Abstract: 932

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1229 | 934 | Walking mountain stories: cases from southern Italy | Giulia De Cunto; Francesca Sabatini (francesca.sabatini4@univaq.it)

The contribution is situated in the recent debate on inner areas, fostered in Italy by the _x000D_
National Strategy for Inner Areas, which has sought to promote new perspectives and interventions of_x000D_
regeneration on fragile and peripheral territories. Within this debate, the contribution_x000D_
develops around the concept of « mountains in the middle » (Varotto, 2020): minor mountains_x000D_
such as the Apennines and the southern ridge, little known and promoted, poorly infrastructured,_x000D_
disadvantaged and disconnected. Despite this, in those areas exist forms of living and dwelling centered on_x000D_
community and sustainability . Around this concept, we would like to present two case studies in southern Italy middle mountains, investigating the relationships that different types of inhabitants_x000D_
establish with their mountains. We will investigate these relationships to the mountains through creative methods_x000D_
-field research methods- that intersect narrative approaches to cultural geography and_x000D_
walking research methods (Kowalewski and Bartłomiejski, 2020). We would like to analyze relationships with_x000D_
to the mountains told while walking by different categories of local actors, according to the idea that walking_x000D_
allows an in-depth understanding of the relationships between communities and mountain places._x000D_
The goal is thus to reconstruct small stories (Lorimer, 2003), understood as embodied and_x000D_
situated: body-centered stories that can offer creative viewpoints on places and environment._x000D_

Giulia De Cunto; Francesca Sabatini (francesca.sabatini4@univaq.it)
Università degli Studi di Milano-Bicocca ; Università degli Studi dell’Aquila

 
ID Abstract: 934

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1229 | 187 | Behaviours and collective spatial representation in urban areas: Interactions of artistic and scientific perspectives | Bernard GUELTON, Teriitutea QUESNOT

Artistic context_x000D_
The research team Fictions & Interactions of the University Paris 1 and the media company ORBE have developed since 2013 collective artistic experiments between distant cities (Paris, Shanghai, Montreal, Rio de Janeiro). Using specially designed interactive applications and creative scenarios, the goal was to connect remote walkers between one or the other of these cities. The project was to hybridize urban spaces of different conformities through physical, virtual and fictional interactions between participants. _x000D_
The artistic practices of space and especially the interactions between distant walkers do not simply provide a context for study here, but form a kind of anticipation of the post-representational paradigm of cartography with examples such as the psycho-geography of the situationists in the late 1950s. As early as 1994, an artist like Fujihata used GPS technology in his project Impressing Velocity. However, it is from the 2000s that groups of artists from participatory theater such as Blast Theory use GPS technologies, visual and verbal interactions to connect walkers in tasks of exploration or playful interaction._x000D_
Scientific implications_x000D_
After several years of experimentation on collective walks using instrumental and shared GPS applications a central scientific question has clearly emerged: to what extent are instrumental and shared maps likely to modify our behaviours and spatial representations?_x000D_
To answer the question of the impact of mapping tools and collective interactions on collective representations, the CORES project (Behaviours and collective spatial representations in urban areas: Incidence of instrumental and shared mapping in pedestrian navigation situations associates and crosses geography, geomatics, cognitive psychology, computer science, artistic practices of walking, design and data visualization. Each of these disciplines contributes to the proposed methodology.

Bernard GUELTON, Teriitutea QUESNOT
Bernard GUELTON, Université Paris 1 Panthéon Sorbonne, ANR CORES Teriitutea QUESNOT, Université de Bretagne Occidentale – LETG CNRS Lab

 
ID Abstract: 187

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1229 | 341 | Making manga as a form of participative urban mobilities research and relational creativity | Christoph Schimkowsky

This presentation will reflect on the ongoing collaborative creative project of making a research-themed manga together with a Japanese artist, introducing the undertaking as a means of not only research communication, but also participative research. It will outline the experimental origins of the collaboration, which began as an attempt to capture the transformation of passenger experience on Tokyo’s notoriously crowded urban railway network during the onset of the COVID-19 pandemic. Taking the form of a 4-page manga, the collaboration with the artist Amaebi, then a research participant, provided an academic and artistic way of making sense of the changes in city space and urban experience brought on by the accelerating pandemic, as well as facilitated ethnographic insights into the creative process which advanced a connected study on the design of visual media in Japanese public transport environments which my collaborator had been commissioned to create. Perhaps more importantly, the (remote) manga project also allowed for the continuation of rapport building with a research interlocutor at a time when COVID-19 made face-to-face interaction difficult, and eventually developed into a lasting collaborative creative and research partnership. Drawing on this collaborative creative experience, the presentation will reflect on the artist-researcher relationship, the blurring of responsibilities that characterise it, and examine the potentials and pitfalls of a collaboration between manga artist and mobilities researcher. _x000D_
_x000D_
Required technological support: computer and projector.

Christoph Schimkowsky
University of Tokyo

 
ID Abstract: 341

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1229 | 492 | Imagining Phantom Tramways Through Artistic Means | Aleksandra Ianchenko


The Finnish city of Turku shut down its tram network in 1972. However, after five decades since their closure, trams keep haunting the city with their absent presence. They circulate in the city as archival photos reproduced on postcards and souvenirs and as computer-modulated visualisations of new trams whose implementation has been considered and debated in Turku for already twenty years. Therefore, Turku trams are hauntological objects which traverse the past, the present and the future, investing the city with its phantom atmospheres. I investigate this claim through artistic methods of participatory installations, sketching walks, and walking performances. These methods allow for accounting discursive, representational, and embodied layers of the cityscape haunted by the phantom of missing trams. They also offer a means to sense the ghostly presence of Turku trams and make them appear in and through artistic works

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Aleksandra Ianchenko
Tallinn University, Åbo Akademi University

 
ID Abstract: 492

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1229 | 507 | Reframing Narva: Reflections from artists in residence at a post-industrial border town | Saara Mildeberg

The town of Narva in Northeast Estonia can be described as a four-fold border town between the East and the West: the border between Estonia and Russia, European Union and Russia, NATO and Russia, it also lies on the divide between catholic and orthodox worlds. Since the Russian attack on Ukraine in February 2022 has been receiving increased attention due to its location. Around the same time, Narva also adopted a new tourism slogan: “Narva — Europe starts here”. As Russian is spoken as mother tongue by 97% of Narva’s population, Europe(anness) does not necessarily have a positive connotation here. Yet, Narva is not a Russian city, as sometimes referred to, but a mix of different ethnicities and backgrounds, often suppressed by stereotypes. _x000D_
_x000D_
Narva Art Residency (NART) in Kreenholm, a former industrial district, has been welcoming artists since 2015 and has recently evolved into one of the most active cultural spaces in town. On the one hand, upcycling industrial areas through artistic projects is a real estate strategy that can lead to gentrification, excluding some communities from the area. On the other hand, artists often draw attention to untypical practices that can be used to make sense of the society and empower minorities. They produce site-specific projects that frame local realities through their own cultural lens and methods. _x000D_
_x000D_
This research is informed by auto-ethnography, participant observation and interviews conducted with the artists of 2022 after their experience in NART. Their various approaches and creative methods to map the city and to get to know its dwellers advocate the potential usage of artistic practices of doing research in in dense and tense settings, empowering local communities and providing alternatives to stereotypes about a post-socialist city.

Saara Mildeberg
Tallinn University

 
ID Abstract: 507

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1229 | 539 | Art in place: creative geographies empowering rural identities | Rosa Cerarols and Antonio Luna

Geohumanities unfold the practices of placemaking beyond traditional academic narratives by using creative methodologies. In this paper we are presenting several cases of artistic practice that strengthen the essence of place transcending scholarly discourses. The examples are based on artistic curation public exhibits in Avia (Berguedà), a rural village in Central Catalonia, and generate different narratives of the contemporary rural realm. It also aims to reflect and create new discourses that link art with the exercise of constructing a new sense of community and empowerment. _x000D_
_x000D_
For three consecutive years, and with the support of local authorities, we developed art practices in collaboration with the local community with the purpose to strengthen the sense of place and generate new community dynamics in times of the pandemic. These practices go beyond the rational approach and appeal to the emotional side of the people and facilitate the development of new forms of social cohesion. We presented the possibility of thinking from another point of view about the local essence by forcing the interaction with three female artists who have turned local idiosyncrasies upside down to create an uncomplicated vision of rural life. _x000D_
_x000D_
The first example recovers family photo albums to pay tribute to the elderly in the summer of the global pandemic where the older population experienced the worst consequences. In the second year, the technique of child-centered drawing was used to tour the municipality with a final exhibition in the form of a productive circle in a freshly mowed field. Finally, working with the village associations, the local imaginary was reversed based on the magic of surrealism to make community social activities visible in a new dialogue between the community and the essence of the place. This whole legacy speaks of a felt, rooted geography and a geo-humanistic need to find a place in a globalized world for these rural communities._x000D_

Rosa Cerarols and Antonio Luna
Universitat Pompeu Fabra (Barcelona)

 
ID Abstract: 539

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1229 | | Geohumanities: creative geographies and artistic practices at a crossroads | Maria Lindmäe (1); Brian Rosa (2); Tauri Tuvikene (3); Aleksandra Ianchenko (4)

This panel invites papers that focus on the intersection of arts, culture and geographical research in addressing contemporary societal challenges, building on the tradition of geohumanities. We welcome papers that bring new knowledge of how artistic and cultural practices relate to, and intervene in the production of spaces, places, and landscapes. We are particularly interested in discussions relating to creative responses to the Covid-19 pandemic, climate change and other socio-ecological challenges, urban livelihoods, inequalities and mobilities, along with the methodological innovations and challenges brought forth through engagement with experimental methods and non-textual outputs. The session pushes forward exploration on how the emerging field of the geohumanities is manifested in Europe, how do we understand its value in relation to broader currents in geography, and how it relates to closely affiliated field of landscape research, urban studies and artistic research?
We welcome papers that include topics such as:

Creative practices for a sustainable future: how can the creative arts sector address climate change and convey actions for social and ecological sustainability.
New methodological approaches to doing geohumanities.
Theorizing the geohumanities and its relationship with broader currents in geography, the humanities, and creative practice.
(Post)-pandemic landscapes and culture: how have recent social changes influenced urban and rural landscape change and what is the role of geohumanities in addressing such changes.
Artistic and cultural practices emerging from (post)-pandemic urban to rural migration: challenges and impacts on the local communities.
The crossover between research-based arts practice, artistic research and creative methods within geography.
Formats and challenges to publishing and disseminating geohumanities research that engages with non-textual media.

We encourage presentations in different formats and media with a maximum length of 15 minutes. Please include the technological support you might need for your presentation together with a 250-word abstract and 3-5 keywords. The language of the session is English. The session will be done in the format of presentatons that may use different media and formats; the session language is English.

Maria Lindmäe (1); Brian Rosa (2); Tauri Tuvikene (3); Aleksandra Ianchenko (4)
(1) Pompeu Fabra Universty, (2) Pompeu Fabra University, (3) Tallinn University, (4) Tallinn University, Åbo Akademi University

 
ID Abstract:

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1229 | 39 | The potential of Research-Creation in urban research | Nicola Di Croce

In this presentation I will draw from a Research-Creation project developed in Montreal in the framework of a Marie Sklodowska-Curie Fellowship throughout 2021 and 2022. Focusing on the sonic dimension of the Montreal’s entertainment neighborhood – the Quartier des Spectacles (QDS) – the project has experimented sound-oriented, qualitative, participatory and creative approaches to inform urban studies. The aim was to address the neighborhood’s rapid transformations, and more specifically the challenging balance between its attractiveness, livability and inclusiveness, especially due to the growing touristification of the area and the problematic effects of the pandemic-related restrictions to public space uses. _x000D_

I will thus illustrate the methodology used for the project, which encompassed in-person field recordings, participatory workshops (focus groups and listening sessions) involving residents, workers and city users around QDS, and a final sound installation that took place in ‘Place de la Paix’ – a small square located in the hearth of the neighborhood. In particular, I will emphasize how the field recordings were key to the urban investigation, as well as to trigger conversations with the workshops’ participants, and finally to the composition of the sound installation, which followed a collaborative guideline drafted over the workshops.
 _x000D_
Building on the results of the project, I will ultimately argue for the potentials of Research-Creation within geography, planning research and urban policy analysis and design, particularly on issues of social inclusiveness within urban areas undergoing dramatic transformations.

Nicola Di Croce
Università Iuav di Venezia

 
ID Abstract: 39

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1229 | 68 | Dystopian Urban Nights in Venice’s Climate Fiction: Mapping Emergent Nightscapes Within and Beyond the Text | Giuseppe Tomasella

This presentation explores more than textual research outputs as a means of communication to share a geographical investigation of Venice’s literary nightscapes. Specifically, this exploration focuses on the geo-literary investigation of elements involved in the co-production process of dystopian Venice’s nightscapes identified in La seconda mezzanotte (2011), a work of climate fiction by the Italian writer Antonio Scurati. The geo-literary analysis of the text builds its theoretical framework upon geohumanities traditions and, in particular, draws on recent studies that suggest “research on climate fiction can benefit from thinking beyond a certain text’s or film’s embedded ideology or its role as a change agent, and perhaps more in terms of a dialectic between ideology and agency” (Schlosser, 2022). To make this dialectic explicit, lenses and tools borrowed from night studies and tourism studies underpin the analysis of a selection of themes and tropes that draw connections between dystopian literary nightscapes and contemporary Venice’s nightscapes. Accordingly, realising a story map as a form of more than textual research output appears to be a method for fostering further meaningful reflection through data reorganisation while also conveying in a digital form the interpretive potential of nightscape as a critical concept.

Giuseppe Tomasella
University of Padova, Department of Historical and Geographic Sciences and the Ancient World – DiSSGeA, Padua, Italy

 
ID Abstract: 68

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