Introducing the geohumanities
Douglas Richardson, Sarah Luria, Jim Ketchum,
and Michael Dear
‘The term “geohumanities” refers to che rapidly growing zone of creative interaction
beeween geography and the humanities. The traditions of chese various disciplines are
being actively breached by a profusion of intellectually and artistically challenging
scholarship and practice, itself propelled by social, rechnological, and political change
Just as geography, with ies focus on space and place, is now actively engaging with
the humanities, so are the discourses of the humanities increasingly incorporating
place and the spatial dimension, The fortuitous convergence ofthis intellectual trafic
outlines a distinctive scholarly terrain and emerging zone of practice that is the focus
of this book,
AAs geography and the humanities converge, new copics are being suggested that
require a transdisciplinary perspective and a combination of methodologies. From
such fusions, a kaleidoscope of intelleceual and artistic outputs is currently emanat-
ing. You can see ie in ehe hybrid maps of radical cartographers and the artistic ere-
ations of experimental geography; or when philosophers and literary theorists
concerned to examine life's fandamencal spatialiey engage with conseructs of place
and landscape; or when urbanists turn to art for visions ofthe fueure city. In this book,
\we capcure some of che excitement breaking out across the intellectual landscape of
the geohumanities. We try ro nudge the diversity of contributions toward a mote col-
laborative and creative group-awareness that explores the meaning of place, and
attempts to reconstruct those meanings in ways that produce new knowledge and
bercer-informed scholarly o political practices.
forts co introduce new ideas often dwell on thei differences from past and present
tradicions. By emphacically denying the legacies of predecessors, advocates call arcen-
tion co the radical break implied by their novel approaches. Such is noc our strategy. Out
firse sketch of a “geohumanites” is resonane with he histories of our ewin origins. AS
edivors, we represent four “spatial minds” wich significantly differene training in, espec-
tively, urbanism, licerarure, the visual arts, and science. Our goals are co give voice to
‘hese separate craditions while bringing them into che same discursive space, and to
illuminace the new opporcunicies thereby revealed. We also understand our responsibil-
ity to demonscrace something of the form and utility ofthese uncharted territories, even
as we readily concede that our fist mappings are necessaly tentative and incomplete,DOUGLAS RICHARDSON ET AL.
Hence, this volume may be properly regarded as an exercise in becoming. We do
‘not aim ro define a comprehensive new “feld” oF “discipline.” The works collected in
this book provide an opening to a project chat is just beginning. In it, academics,
architects, artists, scientists, activists, and writers reveal an astonishing degree of
common ground when explaining the production and meanings of place. Buc they
also uncover new and insightful terrains thar advance our understanding of knowl-
edge and action,
“The structure and concent of this volume are themselves an active part of our inves=
tigation. While the essays themselves for che most part are rooted in conventional
disciplinary heritages, ech deliberately seeks co eransgeess disciplinary boundaries in
‘order to encompass a wider explanation of the production end meaning of place. Our
contributors’ objects of inquiry are text-based (e.g, novels, histories), visual (photog
raphy, film), and cartographic (maps, spatial ecologies). In what follows, we maintain
this traditional categorization ~ cext, image, map ~ but are keenly aware chat ic is
precisely chis divide that we hope to span via our conversations. Such ontological self=
awareness is an importane strategy, even an imperative in any eransdisciplinary work.
Another aspect ofthe volume’s transdisciplinatity collaboration are che “vignerces”
thae ate peppered throughout che cext. These are meant to convey emerging forms of
the geohumanities; ehey are examples of unfertered practice in che geohumanities.
“These shore incerventions appear irregularly and without ceremony, as emotional
voices, colors, non-sequicurs, contradictions, and un-categories. They call arcencion to
diverse practices of place-maling: to che object that is being created, a change of
perspective being sought, or co what is going on around he practice itself. The rough
edges of these place-practices spill wittily, uncomfortably, even dazzlingly into che
adjacent spaces of academic discourse. They raise questions about convention, dissent,
difference, altered identity, and social action. They exis ina flux of exceptions, at che
burgeoning edges of a geohumanicies’ discourse. As such, chey are beacons signaling
sew directions.
Any cartography of the emerging geohumanities conveyed in the essays and
vignettes that follow necessarily remains time- and place-contingent. We do not
incend our initial mapping to spell out an immutable, comprehensive definition of
the project, and ic certainly should nor be read as such. Bur while this book is an
experiment, i is also an invitation, opening up new spaces for a geohumaniies and
inviting readers to advance its agenda.
PART
EN creative praces
Geocreativity
Michael Dear
Conventional social theory makes an imporcane distinction between structare and
agency, that is, between the enduring, deep-seated practices that undergird society and
the everyday voluntaristic behavior of individuals. This dichotomy is important for
what it can cell us about the relative importance of social constraint and free will, and
hhow these opposing forces become articulated in. che practices of everyday life
Approaches to the study of che production of place tend to fall into these ewo catego-
fies. Most of the struccuralist visions of place production derive out of a Marxist-
inspited political economy, including Lefebvre’ concept of the production of space,
and Harvey's treatmene of the capitalise urban process. An agency-oriented view of
place production has a diverse cheoretical heritage that includes material concesns but
also cognitive, cultural, and social dimensions (such as arciudes and belief, feelings
and emotions).
Social theory is also concerned co articulate the relation beeween social process and
spacial sceuccure,thae i, how social forces become manifest in geographies, and how
_gcography is constitutive of social relacions ~ a problematic sometimes eeferred c0 as
the “socio-spatial dialectic.” Needless to say, che relationships articulating socieey and
space relace to more than pure theory; they also have consequences for the work of
practicing professionals such as atchicects and urban planners who are charged with
forging new geogeaphies of the buile environment.
‘The spaces of cities are of special concern in chis book. While consensus has ie that
wwe have entered a global urban age, chee is litele understanding of, much less agree-
‘mene about, whac this trend entails. The proliferation of urban sprawl has caused
investigators to Look more closely atthe forms of emerging urbanism, bue the rash of
ncologisms describing chese forms is more indicative of intellectual confusion rather
than understanding, These cerms include such descriptors as polycentric, pormodern,
‘patchwork, splintered, and pest-sub)urban. The places produced by these aleered pro-
cesses are variously labeled as cty-rigion, micropolitan region, exopulis, edge city, ot
‘metraburbia. Despite the profusion of terminology, there is a growing sense that the
geography of cites is changing; no longer are cies being buil from the inside out
(rom core co periphery) but from the outside in (from hincerlands ro what remains of
the core). This decencered urbanism has the effece of shifting the traditional bases ofMICHAEL DEAR
power in the city. Power lies less in the center than at the edges, and is correspond
ingly more dispersed, even hidden; bur such arrangements also offer greater opporeu~
nities for widespread local autonomies. At the sime time, ocher dynamics of the
Informacion Age, such as globalization, domestic and international migration, and
0 on, underscore how local ouccomes in city-regions are being buffeced by forces
‘operating ae different scales, including the national and international
Each of the essays in this section addresses the question of place production in
ities, with special emphasis on the ceeative process in urban places, Cities have always
been regarded as the locus of innovation and social change in all dimensions of human
activiey In this section's first essay, geographer Michael Dear considers some funda-
rentals in the relationship beeween place and creativity. He distinguishes beeween
creativity i place and creativity of plac: che former refers to the role that a particular
location has in facilitating the creative process; the latter ro the ways in which place
becomes an artifact in the creative ourput, be it a dance movement or photographic
frame, Dear describes a two-year collaborative project among an ineernational group
of academics, artists, critics, and curators charged to imagine reconstructed places
along che controversial and rapidly changing US-Mexico borderlands.
"The urban outcomes ehae characterize the Information Age are dramatically
described in archicect René Peralta’s account of the border city of Tijuana, in Baja
California. One of North America’s fastest-growing and mose dynamic cities, Tijuana
is globally engaged through the presence of the maguiladora (assembly-plant) indus-
try, a hemispheric crade in drug and human trafficking, and its locus as the busiest
international boundary crossing in the world. Peralta’ reading of Tijuana’s urban
ecologies rewrites many conventions of urban theory, and reveals some of the sarcling
‘material conditions of Information Age urbanism.
Cities also have a "soft" dimension, chat is, they comprise an infinite number of
mental maps lodged in the minds of theie inhabitants. To see how these cognitive
maps are formed, artist kanarinka invited residents of the city of Cambridge,
‘Massachusetts, co rename cheit favorite streets and places. The soft city she discovered
is full of humanity, invention, and fun, totally unlike che “hard” city with is ponder-
‘ous monuments, commemorative namings, patrolled spaces, and formal geometries.
Produced with friends from the Instieute for Infinively Small Things ~ itself worchy
of arcention — kanarinka's hypothetical map of a city formerly known as Cambridge
shows juse how deep is the fissure beeween the formalities of the hard city and the
spontaneities of the soft city.
Similar lessons about cognitive mapping come out of architecv/arise Gustavo
Leclere’s visual and cexeual reflection on his migrant experience, Born in Veracruz,
Mexico, but now a long-term resident of Los Angeles, California, Leclerc presents
selection from notebooks of his experience of transition to the USA. His drawings
were accompanied by textual annotations, also reproduced here, including a grand-
mother’s recipe and quotes from Mesoamerican manuscripts. In addicion, Leclerc has
added a present-day commentary to the elements of drawing and annotation. This
triple-layered narrative streeches backwards and forwards ehrough time and space in
continuous unfolding reminiscent of the ancient codices (scrolls) of Mayan and other
indigenous populacions. The syncopated cexts bleed into one another, echoing and
fusing, making tangible che elusive workings of memory in our lives.
GEOCREATIVITY
Keeping in mind hese ineroductions to the hard city, soft city, and memory, che
following essays turn to the ways ereative people work with and in creative places
First, geographer Trevor Paglen outlines what he calls “experimental geography.
Careful co avoid precise definitions and always welcoming nuance, Paglen is neverthe-
less clear about what he does: he deliberately works in many felds simultaneously is
passionately cransdisciplinary and collaborative; communicates through popular
‘media and academic publications; is self-consciously aware of the political in his
work; and possesses a keen sense of public responsibility regarding his work, His
testimony may amount to a kind of manifesto of experimental geography, but Paglen
resolutely refuses this label as concrary to the open-ended, participatory spicic of what
bbe advocates and practices.
Emily Scott’ offers a kind of “undisciplined geography.” She is an are historian and
artist, and self-described "long-time interloper” attracted by geography’s breadth and
interdisciplinariy. From a base in contemporary at, she asserts that geographers and
artists should break boundaries with thei undisciplined geographies, drawing on
tree examples co make her case. cote isa founder of another activise collective (called
the Los Angeles Urban Rangers), which seems to be a common feature of many geo-
Inumanicies projects.
‘The centrality of the map as an analytical focus and inspiration is strongly evident in
an essay by architect Marcin Hogue. He reports on a painstaking documentation of che
state of properties and sites in the borough of Queens, New York. Hogue is most inter-
esced in what he terms the “agency of che map,” that is, whae the map gives to us, He
shows the possibilities offered by a map for contemplation and taking seock, as well as
the satisfaction he derived from ies comprehensive accounting of place. Hogue'sabsorp~
tion in the map is driven by many desires: taxonomic urge that seems almose akin to
rational and scientific reasoning; but also by flights of imagination. As in Lecler’s
‘essay, the multiple layers of accumulated meaning dissolve the boundaries between
categories and offer opporcunicies for original insighe into both object and observe.
In 1999, Emily Score recalled culeural geographer Denis Cosgrove's comment on
‘the “staring explosion” of interest in carcography, the cartographic trope and the
‘map within the humanities and culeural studies. This observation remains current,
but a decade later we are witnessing a more general “spatial turn” that is emblematic
of the geohumanicies project as a whole. In this opening section on geocreativity and
the production of place, our contributors have already illuminated some of the geo
humanities’ strategies: a proclivity co transgress disciplinary boundaries; to accumu
late layer upon layer of eransdisciplinary dara, and then make connections; ro imagine
the world as well as describe ic; and co produce scholarship, at, poetry, community, and
politics (often simultaneously) ftom thei works. The inventive, edgy settings inhab-
ited by these practitioners occur in many places: five ofthe essays in cis fist selection
focus in some way on California and che US-Mexico border, the later a place of great
turmoil and porential; buc creativity also occurs in older more established urban
places, sometimes driven by small collaboratives dedicated to their communities.
‘Another preliminary observation relaces to the social-theoretic question of structure
and agency: even a this early stage in our exegesis, a geohumanities approach appears
{0 promise greater insight into the question of human agency in ies myriad forms and
dynamics
i