A curation of articles, essays, book reviews and interviews on critical geographical concerns.
Foregrounds the constitutive role that various forms of cultural expression play in shaping the relationship between the social and the spatial. Provides a critical platform for investigating the nature of power, difference and oppression – how they are imagined and performed, opposed and subverted.
The central task of Irus Braverman’s Zooland is to understand how biopolitics take form within a relation of pastoral care in the zoo. Across nine empirical chapters, each devoted to a particular technology of governance, from naming to naturalizing to reproducing, Braverman sets out to examine North American zoos from the "inside out." In doing so she eschews the politically forceful but shrill and fundamentalist discourse of animal rights: this is a welcome maneuver.
Jensen, an author already well known for his influence on debates in mobilities studies, assembles here some of his most important arguments under the rubric of a ‘staged’ approach to understanding the way in which people, ideas and technologies move. This volume is the first in a series of books to be published and it provides an introductory theoretical approach alongside case studies that illustrate its application. In the book Jensen, a urban theorist, arguably provides an innovative and original slant on understanding mobilities in the twenty-first century.
Throughout the book examples from philosophy, literature, film or video games are used to draw out the strange implications of the tension between internality and externality of the abyssal dynamism of the ground and its agencies. The author begins his investigation by discussing the importance to think about decay, rotting, digging, and other planetary demolishment as forces of abyssal dynamism of ground.
It is a series of monologues and scenes developed verbatim from interview transcripts, which are performed in different spaces throughout the theatre for small audiences of fifteen to thirty. Shown here is one scene from the Manila production, the monologue of a child who tells of being left with her father in the Philippines and then rejoining her mother in Vancouver after a long period of separation while her mother fulfilled the requirements of Canada’s Live-in Caregiver Program.
In this paper, I develop a minor theory that blurs boundaries between prefigurative direct action and symbolic performance to reconsider strategies for resistance and world-building.