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Abstract
This article draws together seven practitioners and scholars from across the diffuse GeoHumanities community to reflect on the pasts and futures of the GeoHumanities. Far from trying to circle the intellectual wagons around orthodoxies of practice or intent, or to determine possibilities in advance, these contributions and the accompanying commentary seek to create connections across the diverse communities of knowledge and practice that constitute the GeoHumanities. Ahead of these six contributions a commentary situates these discussions within wider concerns with interdisciplinarity and identifies three common themes—possibilities practices, and publics—worthy of further discussion and reflection. The introduction concludes by identifying a fourth theme, politics, that coheres these three themes in productive and important ways.
本文汇聚扩散的地理人文学科社群中的七位从业者与学者，反思地理人文学科的过去与未来。这些稿件及伴随的评论，与试图圈限正统实践或意图的知识圈、抑或事先决定可能性大相径庭的是，它们企图创造构组地理人文学科的多样知识及实践社群之间的连结。在这六篇稿件之前，将会有一篇评论，将这些讨论置放于跨领域的广泛考量之中，并指认三大值得进一步探讨与反思的共同主题——可能性，实践与公众。该引文将透过指认与上述三大主题在生产性及重要性方面一致的第四大主题「政治」作结。
Este artículo junta siete practicantes y eruditos pertenecientes a la difusa comunidad de las GeoHumanidades para reflexionar sobre el pasado y futuro de esta rama del conocimiento. Lejos de tratar de agrupar en círculo los vagones intelectuales alrededor de ortodoxias de práctica o de intención, o de determinar posibilidades con anticipación, estas contribuciones y el comentario que las acompaña, buscan crear conexiones a través de las diversas comunidades del conocimiento y la práctica que constituyen las GeoHumanidades. Precediendo estas seis contribuciones se halla un comentario que sitúa estas discusiones dentro de preocupaciones más amplias con interdisciplinariedad e identifica tres temas comunes—posibilidades, prácticas y públicos—dignos de mayor discusión y reflexión. La introducción concluye identificando el cuarto tema, la política, que cohesiona estos tres temas en maneras productivas e importantes.
ACKNOWLEDGMENT
Harriet Hawkins would like to thank Deborah P. Dixon for her editorial support and comments.
ORCID
Peta Mitchell
Notes
1. The impact agenda in the U.K. research context is driven by the impact criterion introduced by the Higher Education Funding Council into the Research Excellence Framework. Impact here is broadly defined as a research contribution to the U.K. economy, society, and culture.
2. The programs are the International Geosphere-Biosphere Program, launched in 1987, which followed the World Climate Research Program (WCRP), created in 1980. They were succeeded by the International Human Dimensions Program (1990, relaunched in 1996) and Diversitas (launched in 1991 and focusing on global biodiversity and biogeography). An attempt to coordinate these has occurred under the Earth System Science Partnership for well over a decade from 2001. All but the WCRP are now being folded into Future Earth (2014–2024).
3. The themes are Dynamic Planet (which is and will be dominated by science-led projects), Global Sustainable Development, and Transformations Toward Sustainability. All three are referenced to the new United Nations Sustainable Development Goals, due to be ratified in late 2015.
4. One of us (DeLyser) has previously advocated for participatory and public historical geography, efforts closely related to public and participatory GeoHumanities. See DeLyser (Citation2014). DeLyser presented an earlier version of this paper at the International Conference of Historical Geographers in London, July 2015.
5. See DeLyser (Citation2005).
6. The collaborative cast here includes the following: five film archives and their archivists (Národní Filmov´y Archiv [Myrtil Frida in the 1960s and in the twenty-first century Michal Bregant, Vladimír Opěla, Věroslav Hába, and Karel Zima], the Reichsfilmarchiv, Gosfilmofond, the Library of Congress [Mike Mashon, Rob Stone, and Lynanne Schweighofer], and the UCLA Film and Television Archive [including Jan Chistopher Horak, Shannon Kelley, Paul Malcolm, and Kelly Gramml]); a film curator who never lost hope that the film was in Prague (Charles Silver of MOMA); two academics, Joanna Hearne (English and Film Studies) and Dydia DeLyser (Geography); a local historian (Phil Brigandi); a silent-film historian (Hugh Munro Neely); a Czech translator (Klara Molacek); a granddaughter of the film’s director (Diane Allen); grant funding (from the Allen Family Foundation, and the Anders Family Foundation); and the Mont Alto Silent Film Orchestra (composer Rodney Sauer).
7. In Australia, research is classified and assessed according to field of research (FoR) codes laid down by the Bureau of Statistics and last revised in 2008. In an article on the “paradox of interdisciplinarity” in the Australian research context, Woelert and Millar (Citation2013) pointed out the “significant mismatch between the pervasive discourse of interdisciplinarity” in the rhetoric surrounding national research governance and “current, relatively inflexible governmental research funding and evaluation practices on the other,” particularly as they are embodied in and instrumentalized through the rigid FoR coding system (756).
8. Referring as it does specifically to the uptake and use of GIS technologies and geovisualization within humanities disciplines, the term spatial humanities is entirely predicated on—but elides in its name—the digital (see Bodenhamer, Corrigan, and Harris Citation2010). The 2013 creation of a GeoHumanities special interest group (www.geohumanities.org) within the Alliance of Digital Humanities Organizations (ADHO) could be seen as part of a similar, self-effacing move to reduce the GeoHumanities to the digital.
Additional information
Notes on contributors
Harriet Hawkins
HARRIET HAWKINS is a Reader in the Department of Geography, Royal Holloway, University of London, Egham (Surrey), TW20 0EX, United Kingdom. E-mail: [email protected]. Her research interests include the geographies of art works and art worlds, aesthetics, art and environmental change, and theorizations and practices of collaboration and interdisciplinarity. She is committed to working with creative practitioners, institutions, and publics as part of her research practice and to producing outputs that work through modes other than written text.
Lou Cabeen
LOU CABEEN is an artist living and working in Seattle where she explores the visual and tactile connections between textile, text and topography. E-mail: [email protected]. Until recently she was an Associate Professor in the School of Art at University of Washington. Her most recent exhibition is The Needle’s Eye, a group exhibition of contemporary embroidery jointly produced by the National Museum and Museum of Decorative Arts in Norway.
Felicity Callard
FELICITY CALLARD is Director of Hubbub, the first residency of The Hub at Wellcome Collection, London, NW1 2BE, United Kingdom. Hubbub comprises an international network of social scientists, humanities researchers, scientists and artists; their interdisciplinary collaborations are investigating rest and its opposites in mental health, neuroscience, the arts and the everyday. Felicity is Reader in Social Science for Medical Humanities at Durham University, Durham, DH1 3LE, United Kingdom. E-mail: [email protected].
Noel Castree
NOEL CASTREE is Professor of Geography at the University of Manchester, Manchester, M13 9PL, United Kingdom, and the University of Wollongong, Wollongong, NSW 2522, Australia. E-mail: [email protected]. His current research examines how the social sciences and humanities are being drawn into global change research.
Stephen Daniels
STEPHEN DANIELS is Professor of Cultural Geography at the University of Nottingham, Nottingham, NG7 2RD, United Kingdom, and a Fellow of the British Academy. E-mail: [email protected]. He was Director of the AHRC Landscape and Environment Programme between 2005 and 2012, and currently holds a Senior Fellowship from the Paul Mellon Centre for British art.
Dydia DeLyser
DYDIA DELYSER is a feminist, qualitative cultural-historical geographer at California State University, Fullerton, CA 92834. E-mail: [email protected]. Her research attempts to embed scholarship, self, and community in creative ways.
Hugh Munro Neely
HUGH MUNRO NEELY is an archivist, film historian and documentary filmmaker affiliated with the Institute for Film Education, Culver City, CA 90230. E-mail: [email protected]. He has worked on research projects at a dozen different film archives in Europe and America, and is currently writing a biography of Czech-American actor and filmmaker Hugo Haas.
Peta Mitchell
PETA MITCHELL is Vice Chancellor’s Research Fellow in the Creative Industries Faculty and Chief Investigator in Queensland University of Technology’s Digital Media Research Centre, Kelvin Grove, QLD 4059, Australia. E-mail: [email protected]. Her fellowship project is focused on geocultural research and the digital spatial turn, and her research has broadly focused on the GeoHumanities, including media geography, literary geography, and neogeography.